 Fun and engaging characters are one of the most important parts of any game. If you want to make games then you'll need to know how to create characters that your players will love. Hi, I'm Shane, and in this detailed tutorial I'm going to teach you how to create this little robot character. There are already lots of really good tutorials out there that show you how to model, or rig, or animate, or even how to import your character into a game engine and make it playable. But this tutorial covers all of those steps and more in one complete package. Over the next four hours I'll take you through the entire process, including the modelling, texturing, rigging, and animation, as well as the right way to export the character from the modelling software and into the game engine. Once we're in the game engine I'll also show you how to set up the animation states, the logic, and how to tweak the feel of the character to your liking. This might all seem a little daunting right now, but I'll break it all down into manageable chunks to take you from a reference image, right through to creating your first fully playable 3D video game character. Before we get started though, this is Game Dev Academy, a YouTube channel dedicated to helping aspiring game developers and artists to learn everything they need to know to make their own games. If that's the kind of mission statement you can get behind then I'd really appreciate it if you could give this video a like and maybe consider subscribing if you find this tutorial helpful. Just remember to ring the notification bell if you do. One final thing before we really get stuck in, this tutorial can be viewed in three different ways depending on the way you prefer to learn. The first way is to view the whole tutorial as one long video with all 22 steps of the tutorial back to back. Individual steps can be found by clicking on the bookmarks in the video description. The second way to view is as five chapters which split the tutorial into topics. All of the chapters have been bundled together into a YouTube playlist. The final way to view is as 22 individual videos with each covering a discrete step in the tutorial. This version of the tutorial can also be accessed via a playlist. If you're not currently viewing this tutorial in your preferred format, you can change by selecting the one you want in the video description below. You can also access the reference images, textures and if you need a little help or want a closer look at what I did, the project files I used for this tutorial by clicking the link in the description. Still here? Good, I like you already. Let's move on to the next step and get stuck into some modelling. Before we can make a start on modelling our character, the first thing we will need to do is to create a project and get our reference images in the scene. So let's do that first of all. So job one is just going to be file project window. Robot character is a good name so I might call it that. Robot character. And then you need to choose a location for your project. I'm going to put it in somewhere that I'll be able to share with you guys. So if I put it in my drive and shared, you can see I've already got a third person character tutorial folder. You can put a folder wherever you want. I'm just going to choose this. You can see I've already got some images there which I'll look at in a second. And then we'll select that. I'm not going to change any names. Just going to click on accept. Okay, now that's done. I just want to put some files in the correct place in that project. So let's open a window here. So here's that folder that I just put the project in. And these three images here are our reference images that we're going to be using. So I'm just going to put these. So I'm just going to go cut and I'm going to put them into my source images folder paste. If you want to use the same images as me, you absolutely can. This project that I'm working on right now will be linked down below in the description and you can get to this at any point. So that's how you can do that. Right, so now my project is set up. Let's go back to Maya. And I want to save the scene. So file save scene as and you can see that I'm in the right place because I've just set my project. And I'm going to call it modelling. Yeah, I'll just go with modelling. That'll do it save. I would also recommend at this stage to make sure that you've got my three favorite settings on which is infinite undoes incremental save and auto save. I'll link the video somewhere probably top corner of the screen so that you can do that if you haven't already. Okay, what I'll do now is change the workspace from Maya classic to modelling standard gives me a little bit more screen real estate. And then I'm going to go to my four view. There we go. And I'm going to bring in those source images that I just showed you that I put into the source image folder. So here's the top view. So we're going to go view image plane import image and put me in the right folder. And I've just copied the files in there. So which view is that on top? So we'll use the top image. Open these images should line up pretty closely because I drew them in a way that should mean that that happens. But we might just have to use a little bit of common sense to get things lined up. So now we're going to do the front import image front. There it is. And then we've just got the side left import image side. Okay. So they're all in. That's a good start. Now what I want to do is make sure that I'm going to be working to the correct scale because we want this to just work when we take it over to a real engine when we're done. And we're going to set it to about normal sort of human height, which is about 180 centimeters is kind of the high end of the average male. So we'll go for that. And the way I'm going to make sure that I do that is just create a cube. There you can see the cubes just there. I'm going to open my channel box and I'm going to resize this cube. So I'm going to set the height to 180 and then as I zoom out, you can see that's kind of how tall I want my character to be. So now I'm going to select all of my image planes. Just doing that with a marquee selection. That's not selected all three as it. Okay, we'll do them one at a time. So let's scale this up. And what I want to do is make sure that it kind of matches the height of the cube that I've created. So we'll do the top of the head. That looks about right and the foot. So I just need to move my cube down a bit to get a good idea. Just turn this grid off a minute. Okay, you need to get it roughly in the right place and then I can see that this just needs bringing down a little bit. That's about right. And so you can see that I've set my scale to 11.3. I'm going to round that to 11 because that's going to make it easier to do that for the other views as well. So that gets that started. I can now delete that cube and I'm going to set the size of the others to 11. So this one here is going to be set to 11. And this one here is also going to be set to 11. So there we go. No, hello. So you can now see that I've got these reference images in. Everything should line up. You can see the edge of the fingers pretty much lines up in different views. So do the bottom of the feet and the top of the head. Everything's pretty close. So all I need to do now is move these images out of the way so that they won't be in the way when I want to model. So we just move this one back here. This one will push back there and you always want to be pushing them down or back. Don't bring them up or forward because they'll get in the way. Okay, so that now puts them in place and you can see that in the orthographic view nothing's changed. They're still where I want them to be. And that's the setup complete. We've got a project. We have our reference images in the right folder. We've also set the image planes to about the right scale and we have saved our scenes. That means auto save will kick in as well. Okay, in the next part, we are going to be creating a cube and turning that into the main torso. In this part, we're going to make the torso and we're going to make that out of a cube. First of all, though, I'm just going to turn off some of these grids because I've just had a look and it's not coming across very well on video with the grid. So we'll get rid of those. We don't need them. In fact, we'll kill that one as well. So that gets us started. Now what we're going to do is create a cube them. You can see that it's tiny, tiny minuscule. First thing we'll do is we'll just make it a bit bigger. So that it's roughly in the right place and the right size. I'm just going to move it up a bit as well. And then I'm just going to make some changes to it. But first of all, let's give it a name. So we'll call it torso because that's what it is. And then I'm just going to start making changes so that it pretty much matches up. So you can see that I need to just move that forward a bit like that. One mode that you might find useful while you're working like this. If you go to shading and go to x-ray, it's wireframe, but it does kind of show a little bit of shading as well. So it can be quite good for just getting that sorted. And then I can see it's a little bit too tall. So we'll go for that. I guess it's close enough. Yeah, that'll do it. And it's starting to show now that the images aren't necessarily perfectly centered, which is annoying because I put a centerline on the image in Photoshop. So I'm not sure why it's being this way. But we'll just have to use a bit of common sense. It's fine. Okay. Next thing we want to do is put a centerline on this torso cube. So subdivisions width needs changing to two. There we go. And then we can start making some changes to this. So one thing that we need to be aware of. Let's just put this on to x-ray as well. There's a bit of a flare here. We're not going to be able to get that without another edge loop. So I'm going to go to this tool here, which is the multi-cut tool. And then whilst I'm in this view, I'm just going to make it active by clicking somewhere in it. And you can see now that the tool is active and I'm going to hold control and that will now tell me that I can put in a whole edge loop and I'm going to aim for about there. It's pretty good. Okay. What I want to do next then is set about getting this shape about right. And I'm going to do that mostly in vertex mode. So let's put my move tool on and then I'm going to select whole rows and just scale them where I think I want to. So I want to do that there. I'll probably flare this out a little bit. And the top does want flaring out even more. So I'm going to do that and then I'm going to leave. In fact, let's just move this row down the touch. So it's just touching the top there and then these vertices on the side. So I'll show you in this view here. So you can see what I've got. So I don't want to haven't there you go. So I've got one, two, three, four, but not the two in the middle. And that's so that I can now bring them down like so. You can see this matches up here, but that's too far out. So what I'm going to do is just bring in a little bit to kind of go somewhere in the middle. And that is a damn fine start to our shape. What I want to do is round it out a little bit as well. And I'll do that in edge mode. So let's go into edge mode and I'm going to double click on that edge there. Now holding shift, I'll double click on that edge and the two on the other side. And what that means is that now in this view, and I'm actually paying attention to this face here. I'm going to round it off. But what I kind of want to do with that is get this face here to be pretty square. And the reason for that is that it will become a better circle later if I make it square now. So that's pretty good. And at this stage, I'm going to make my first preview of that shape. So if we press three, that's kind of how the torso is looking so far. So it's not quite there yet. But as we add more detail to it and maybe even crease some edges, this will start to come together. So now we'll create the area for the arms to attach. So I'm going to press one again. And now I want what I do on this side to be reflected on this side. So we're going to use mirroring to do that. I'm going to open my modeling toolkit, which can access with this icon up here. Within this tool, you can see that we have symmetry and I'm going to turn that on for object X. And now if I go into face mode and you can see that if I select any face, the one on the opposite side is highlighted as well. So I'm going to click on this face here. And then what I want to do is do an extrusion. So I'm going to do control and E. And then by clicking and dragging on the word offset of this little gizmo that pops up, I'm going to put that kind of offset on it there. That's pretty good. And then I need one more extrusion, control E again. And this time we're going to go into a minus number on the thickness to create a bit of a cavity. It's like a socket for it to plug into. And then we'll just double check that that's happened on the other side. It has, we're good to go. I might not have it quite that thick. Let's just push that back a bit. Yeah, that's good. Okay, so back into object mode. We'll press three again. And now that we've done that, that's starting to look a lot better. That's pretty good. So there's just a few refinements that we need to make out. And I'll do that by leaving this smooth preview on. And I'm also going to leave mirroring on as well so that I can work on this side and know that it's also happening on the other side. So let's go into edge mode and see that this edge here, I'll move to along, really needs to go up here to fill out the shape. That's working pretty well. And then we'll get this edge here and we'll do something similar to make the chest shape look a bit better. That's nice. I'll do something similar at the bottom. This one doesn't round out quite as well. So that's fine. But it will do later because we're going to use another method. So that kind of does that. I also want to see how it's looking in this mode. And we can see that it's not quite as I wanted it to be. I'm just going to bring this out a little bit here. So we get a bit more of that flaring going on. Yeah, that was nice. And then for this top corner, I think I'm going to leave it. I'm quite happy with that. Okay, so now let's put this back into object mode and press one. Make sure that the shape is not gone too peculiar anywhere. Now I think that looks good. That will do it for the torso then. So we have created our shape. We've named it and we're going to leave this smooth preview on so that we know what we're working with going forward. In fact, I am going to make one more change because I want the bottom to be a little bit flatter, I think. So what we'll do is we'll go into edge mode and I'm going to select all the edges around the bottom like that. And I'll leave the middle one. And then what we're going to do is go into mesh tools, turn on the crease tool like that. And then it tells you how to use it. Select components to crease and then drag middle mouse button. So click and drag with the middle mouse button and you can see that it kind of hardens those edges a little bit. And we only want to do it a bit, that'll be fine. Yeah, and that just makes that a little bit sharper. Back into object mode. Okay, so that is our torso complete. In the next step then, we will be taking a look at how we construct the head. Now it's time that we make the head. And as you can see, I've chosen quite a blocky shape, which means it's a fairly easy shape for us to create. The shape that we're going to start with is going to be a cube. So I'll just create a new cube, it's going to be inside the torso. So I'll just put my move tool on to get it so that I can see where it is. And then make sure that I can see the head in these views just so that I can get this cube roughly positioned and then I'm going to need to size it up. So that looks like a pretty good size. We can see here that it needs to come forward a little bit and also up a little bit. I'll just bring the scale back down. Okay, that's a pretty good start. Next thing we need to do is reduce the size of the face at the back. So I'll go into face mode for that. Select that one face and then I'm just going to scale it down until it kind of looks right. It's going to have to come forward a little bit and also up a little bit. That looks pretty nice. Just check that I'm happy with it in the top view as well. Not bad. And the whole shape actually, I do remember, I decided that I wanted it a little bit wider than I did tall. It's not quite square. Okay, that's a good start. Now you can see we've got kind of this inset for the screen that makes up our little robot dude's face. So we're going to do that by going into face mode, get the face at the front, and then we're going to extrude that and just add enough set, whatever looks good to you. So something like that. I'll extrude again and then I'm just going to bring the thickness in so that we've got a bit of kind of separation from the frame and the screen. And that's for the modeling. That's pretty much done. Look at how this is going to be smoothed, the same as we did with the torso. So I'm going to need to be in edge mode for this. And I need to press 3 to see what the shape is currently previewing like. So that's it. You can see it's not quite there yet. It's a little bit too rounded. So I'm going to work on the edges at the back first. I've still got object symmetry on the x-axis, so that means that I can select the top and bottom, and I only need to select one side. And then we're going to go to mesh tools, turn on the crease tool, and then I'm probably going to use this view here to see how this lines up, and then just push it back so that I get the same kind of curve, which is something like that. I might need to just move things and resize them later, but I'm just trying to get it close at this stage. Next I need to control how square it looks. So I'm just going to double click on that edge there. You can see that it's got all the way, and it's got the one on the other side I'll hold shift and do that on the bottom as well. So now you can see I've got all of those edges selected, and now I'm just going to go middle mouse button and drag until the shape looks about right. And for this one, this view here is going to be my friend. Again, I want to get the same sort of curve. That was pretty close. Next we need to select this edge loop and then hold shift and select this edge loop. And then I need to get the kind of rounding on the front here. So it's got a bit of rounding going on. That looks pretty close. And then these four edges in the middle are actually just completely hard because we want a good separation between the frame and the screen. And as you can see, we are now pretty close to getting this shape. So all I need to do, I think, is go into vertex mode and then I'm going to move some of these vertices a little bit just to get the shape that I want. I think all of these on the bottom just need to come down a bit, like the front they did, not the back. I'll move that back up. That's pretty close. Now then, I just need to do one more thing, which I forgot to do when I created the shape. So let's put this back into object mode and then go to my channel box and need to name this cube. So we're going to call it head, which is a fairly sensible name really. Oh, doesn't need a capital D. There we go. And that is now done. So we've now got our torso and our head. We're going to leave the smoothing preview on because we want to see how this is going to turn out but we're not going to be applying the smoothing yet. In the next part, we're going to model this bit here, which we'll call his hips. So let's move on to that. Now it's time for us to make the hips. And as we have done so far, we're going to use a cube to be the start of this for us. So let's get a new cube. Just move it out of the main part of the torso. And then I'm going to name this. So hips. We'll need to scale this up a little bit. I'm just going to refocus my image planes so that I can see what I'm working on a bit more clearly. So we're going to need to do something like that and obviously doesn't need to be quite that tall. That's pretty good. I'm going to go slightly wider. As you can see, these reference images don't line up perfectly so you'll just have to kind of average out any differences. The front view here isn't quite where I need it to be so I'll just scale that to get that a bit closer and that is a good start. What I will absolutely need on this is a center line. So we'll go into the inputs and we're going to change subdivisions width to 2. There we go, that's put a line straight down the middle and now we can start adjusting the shape a little bit more. We've still got symmetry on. That's really going to help us. So if I just go into face mode and select the face there and then I'm just going to scale it on the height and move it up to get this pretty close and I'm going to leave this bigger than it is there because this is going to smooth out and I'll probably have the result of rounding that so it makes it a bit smaller. So I think that's pretty close and we can't really see it in the view of any of the images that I've created but I do know that when I start putting this exercise together I also brought that edge forward a little bit and this edge forward not quite as much and then if I just go into object mode that's probably going to necessitate bringing that in a little bit like that. Okay, so that's the beginnings of our shape. What we're going to need to do next is just work on creating the sort of leg sockets so into face mode and click on that face there and it's going to be an extrusion. So control and E. And we're going to want to put an offset on this but if you can see it's not doing enough set around the bottom and that's because it's treating this all kind of as one face and we need to just change, keep faces together to be off and you can see now I get two borders. So that's pretty good there. So I'm going to go for an offset of about 3.5 and then what I want to do is try and get this shape here to be fairly square and that's going to help me out. So in order to do that I'm going to go into edge mode and I'm just going to scale it in on this axis here and that's actually pretty square. I don't need to change any more about that. What I'll do is go back into face mode. We're going to extrude again and we're just going to go minus on the thickness like that put it in a little bit and we'll probably just put a slight offset on it as well. Let's just press 3 to see how that's looking. Yeah, that's pretty good. Press 1 again. Okay, the final thing I need to do now is just to work on the top so I'm just going to bring this down a bit so I can see the top into face mode and select the top two faces. I'm going to extrude. Put an offset on. Yep, and I think what I'm going to do with this is just scale it in on that axis a little bit. Yep, that'll do. And then I'm going to extrude again. We're going to go minus on the offset. We're going to go minus on the thickness like that. We're going to add a slight offset to it. And again, I think I'm just going to try and round it out a little bit by doing that. Let's press 3. Okay, that's pretty nice. That's close to the shape that I want. So what I'll do now is just make one final change. I'm going to go into edge mode for this. Just press number 1 to make sure I set the right edges. I want that one there. So it's not the center one. It's just the two either side of it. And it's just going to kind of flatten the bottom part of this out. I'll show you what I mean. So I press 3 again. And I kind of want to see this view here. I'll put my move tool on. I'm just going to move those down. You can see it's just flattening that part out. And I quite like the way that looks. Okay, so what we need to do now is go back into object mode and put this in place and see if we need any further changes. So I'm happy with that. Not necessarily happy with the height anymore. So I need to think about that. Let's just do this and we'll just scale the whole thing up. And then I think it's likely to be this vertex here that I want to bring back like that. And possibly this one here just into there. That looks pretty darn nice, I think. Just making small changes to get it to match the concept art. Make sure that I'm happy with the shape. Yeah, that's pretty good. So that will basically do it for that. What I'm going to do now is just add a very quick sphere. So I'm just going to drop this in here. And you can see that on the image there is a sphere there that's doing the connection. So what I'll do is I'm just going to call this lower back. I'm going to drop the subdivisions down to 8 by 8. That just means that I can smooth it out later if I choose to. And I'm going to scale it up like so. It doesn't really matter if this intersects. That's kind of the point of it really, like that. And then I'm just going to go back into... In fact, what I'll do is I'm just going to go into object mode. And I'm going to press 3 whilst that's selected. And then I can make any changes that I think I need to to that shape. Same in this view. Oh my goodness, definitely in this view. Like so. That looks pretty nice. And that should just make it look like that all joins up. So let's just... Yeah, that's pretty nice. That's going to wrap this step up then. Coming up next, we're going to need to take a look at the arm. Now we've got our torso, hips and head. It's time that we have a go at the arm. To do that, we're going to start with this upper portion just here. And believe it or not, we're going to use a cube. We want this to be rounded like a cylinder, but to make the two pieces that connect, it's going to be much easier with a cube. So that's where we'll start. So we'll have a new cube. And then I'm going to put my move tool on. I'm going to put it roughly where I want it. And then I'm going to name this first of all. So it's going to be L underscore upper arm. The L denotes that this is for the left arm. And it is the right arm as we look at it, but the characters, it's their left. So that's how we're going to name it. Next, what we need to do is just get this scaled up. So we're going to scale that uniformly to about there. And then we're going to scale it that way. And we're only trying to aim between here and here. These bits that come off are what we're going to add. So that gets us started. Then what we need to do is go into inputs, polycube four, and subdivisions height, we are going to change to three. And this is the magic part here that's going to allow us to have the two parts of the upper arm and the lower arm to have the kind of elbow joint. Now that we've got that, we just need to round this out. So let's go into this view here. We're going to go into edge mode. I'm going to get that, and that, and that, and that. So we've got the four corners as we look at it there. Go into scale mode and we're just going to scale it in on this axis here. And you'll see that that gives us a fairly round shape. And that's pretty much all we need to do. So what we'll do now is put this into object mode and we're going to duplicate it, control D, and we're just going to move it over. And we're going to name this to lower arm and we'll be using this later. By duplicating this, we know that they're going to meet up properly when we put them together. So lower arm. And we'll just ignore the lower arm for now. Let's move that out of the way. And we're going to continue working on the upper arm. The first thing I'll concentrate on is getting this little area here modeled. So we're going to go into face mode and we can see that if I select these faces here it's also going to select them at the back, which I actually don't want now. So we need to turn off symmetry. So we'll go into the modeling toolkit and just turn off symmetry for this step. So I'm going to select the bottom face there and the top face. And we're going to go control E to extrude. And then I'm just going to use the thickness to take it to about there. So in my case that's a thickness of three. Then at the back, I need to select all of the faces. With those faces selected, I'm going to press control and E to do an extrude. And I need to get the offset right so I can't go plus because that's going to turn inside out. I need to go minus and I'm going to go, I'm following the blue line here. So let's just see where that needs to be. It looks like it's okay about minus 1.3 for me. So I'm happy with that. And then I'm going to extrude again. And I'm just going to make the thickness, we're going to go in this direction like that. And I'm going to go well into the shoulder. Then I'll press 3 to make sure the shape looks like I expect. It does. You can see that it's rounded out here but at the back it's a bit peculiar. And the easiest way to solve that is just press delete. And you'll see that will round it out. So this is now mostly done. We just got to find out where we want to crease the edges. So we're going to go into edge mode. I'm going to double click this edge loop there, hold shift and double click this edge loop. Those two. And then what we'll do is go into mesh tools, crease tool and we're going to crease those all the way. We want a fairly hard edge there. And then those edges there, those edges there, that one and that one thing. See that's going to go all the way around. I want to harden that as well. And then I'm pretty sure that that one and that one these here. So I'm pretty sure it's everything apart from just the ones at the edge. So I'm leaving those and we'll harden that out. That's not bad but I do need to do some work on these. That's not exactly what I'm looking for. So we're going to just select those and we'll do the ones on the bottom to decide how rounded I want these to be. In fact, I don't know if I do want them to be rounded. I think we're just going to leave those hard. Yep. So that's good. That's the upper arm done. Now we just kind of need to repeat the process on the lower arm. So we're going to go into face mode. We're just going to move along a little bit here. Let's go into object mode first. And we need to... What have I got selected there? That's crazy. Undo that. Just select this and we're going to move it basically into place, which is going to be there. And then we're going to get this face here. We'll extrude it. Control the E. And then we're going to add some thickness to it to get that to kind of meet up there. That should do it. Oh. No, that won't do it. Undo that. That's crazy. Just that one. Control E. And then we'll add some thickness again. That's better. This is why we always check. So that looks like a pretty good join there. I'm happy with that. And then I'm just going to grab these faces here. One, two, three. I'm just going to move them along a little bit so that they're going to be inside the next piece of arm. And then I'm just going to delete that to keep it round. And then we'll press 3 to see how that's looking. Not bad, but clearly there's some creasing that needs to go on. So we're going to go into edge mode and I'm pretty sure that one there. That one there. So all these going around are going to want to be selected and creased. Okay, so I've got all four of those. Let's just get our crease tool back. And then we'll harden that. Yeah, that's pretty good. But that's making it clear that these here also want to be creased. One, two, three. One, two, and three. Let's crease those. Much better. One, two, three, four. Increase those. Yep. And I do wonder, let me just crease this top and bottom here. That one and that one. See what that does. Oh, yeah, I might keep that actually. So that actually creates kind of a rounded joint. Let me show you. So we'll pull this out. That's rounded on the top and bottom. I think I'm going to try and repeat that with these. Let's go into edge mode. And we'll increase these ones. One, two, three, four. And then we're going to go into our crease tool, which I'm just going to select from over here. And increase. Do I like that? I might increase it a little bit, but not all the way. That's kind of nice. Okay, back into object mode. That looks okay. And then we'll pop this back in place. That's basically the upper arm completed or the upper portion of the arm. Now we need to go onto this big heavy looking part here, which I think I'm going to use a cylinder for. So we'll go for a new cylinder. And then we're going to just bring this out here, scale it up a little bit so we can see what we're working with. And then we're going to call this L underscore lower arm 2 because there are two parts that make this up. I'm going to change this subdivisions axis to four. No, eight is what I want. I'm then going to rotate it by 90 degrees on the Z axis apparently. So we'll tighten 90 in there. And that is a pretty good start. So what I'll do now is get this into place. So that's pretty good there. And I'm just going to scale it down a little bit because I'm just kind of lining this part up here. Then interface mode. And I'm going to select all these faces here. And then you can see that there's a bit where it flares out. So we'll move those faces to there. And then we'll scale them up nice. Then we'll extrude those faces. Control E will add a little bit of thickness to it to bring it to about there. And we will set the offset. And that you can see is pretty much created that part of the arm. I'm happy enough with that. And I think I'll just end by creating a bit of a socket for the wrist to fit into. So with that same selection in place, I'm going to do control E. I'm going to add a small offset. Control E again. I'm going to go backwards on the thickness. And add a small offset again. And then we'll just press 3 to see how that comes out. Pretty darn nice. So what I can see now is that there are, when I smooth this, there are going to be a couple of changes I need to make. So I'm going to go into edge mode. Double click on this edge. And I'm going to scale it up. Yep, I like that. Double click on this edge. And I'm going to scale it up. And I think I'm going to move it along. Something like that looks quite nice. Okay, so that creates that part of the arm. Back into object mode for that. This is starting to come together. We're going to need a wrist, which is going to be a sphere. So quick sphere. We're going to plop that in place. Bang it about there. I'm going to call it L underscore wrist. And then it's just a case really of, Oh, hang on. Let's just knock this subdivisions down to eight by eight. And I'm going to rotate it so that the pole is sticking out. So I'm going to rotate it 90 degrees on Z. And then I'm going to scale it into place. So I'm going to press three. So I know how this looks when I actually smooth it. That's like it's going to be a pretty good fit. How does it fit there? Not quite. So let's just make a couple of small changes. So it looks like it is fitting into that socket. That's not bad. Yep. That'll do there. And now we just have the hand to do, which believe it or not, we're going to start with a cube for that. So new cube. And what we will do with this cube is move it towards where the hand lives about there. And I'm going to have to make some use of my top view for this one. So what we're going to do is just get this to about the right dimensions like that. And we'll have to add a little bit of height to it there. That's good. And what I think I'm going to do just to help me refine the shape is I'm going to add an edge loop with the insert edge loop tool. It's going to be a multi-cut tool. If I hold control, it should let me choose where I want to put this edge. I'm going to put it about there. And then into vertex mode, what I want to do is just like these vertices here. I just want to move them to about there. It's just going to refine the shape a little bit. Make it look like it's a bit rounder. That's kind of nice. Okay, so that's going to be the bottom portion of the hand. Then what I'll do is create another cube to represent kind of the fingers. It's all going to be one piece. And I think I'm going to do it as two separate pieces as well. So we'll drop that into object mode. I'm going to get another cube. Let's get this roughly where it needs to be. I'm going to get it to about the size and shape that I want. That looks pretty nice. And then we're going to get the height and the thickness correct as well. I'm going to have this not quite as tall. Because the point of this is that it's the next part of the hand. So I want it to be a little bit smaller really. And then into vertex mode, I'm going to start these two vertices here. All of the vertices on the end. There you go. You can see I'm going to use my scale tool to just bring that in there. And I'll probably just use my move tool to bring that up a little bit like that. So that's that first part. And then what I'm going to do is let's just make sure I'm naming these. So this is going to be L underscore hand 1. This one's going to be L underscore hand 2. And then we're going to duplicate this. Move it to here. This is going to be L underscore fingers, I think. And then the shape of this needs to be refined. So we're going to go into vertex mode and do that. So let's bring this down to about here. Let's move this one up to about there. Okay, this bit here is going to go there. And this one's probably going to help me round it out the most to about there. How does that look? Not bad. I think what I'll do with the end of the fingers here is I'm just going to scale them down a bit to thin it out. That's pretty nice. Back into object mode. And then I'm going to use this bit just to give me something to work with for the thumb, which I'm going to do out of two pieces as well. So let's duplicate this, control D. And we're just going to move it here for now so I can rename it L underscore thumb 1. And then we need to do a bit of work with this to get it to do what we need it to do. So we're going to scale it in, change the height. And then we need to work with the vertices and get these into place. So we'll put one there and the other here. That's not bad. And then we're going to follow the kind of contours that we've got of the image. So that's going to give us our first piece of the thumb, I reckon. And then I'm going to duplicate this one more time. So object mode, control D. Let's move this to here and this is going to need a little bit more refinement in vertex mode. So that one's going to go there. This is going to go here. This little bad boy is going to go there and the final is going to go there. And then if we look at it in this sort of view, that's not bad. That's pretty hand-like. It's just going to need a little bit of guidance with the smoothing now. So back into object mode and let's see what's needed to make this look like a sexy hand. So we'll press 3 on this. Okay. We're going to go into edge mode. Select those and those, those and those. You could probably work this out by yourself if you haven't already. I think you're getting the gist of this. So it's going to be into crease tool and then decide how much you need to crease all of these edges to get the result that you desire. So let's go for that. That was pretty nice. I do want to crease that a little bit and then just these here. One, two, three, four. Let's just crease those as well. So that looks like it's going into the handle bit. So I think that looks nice for that one. Onto this one, press 3. We already have our crease tool on into edge mode. For this one, I'm just going to select all the edges and crease them up until they've got a bit of a bend on them but not too much. Same for this one into edge mode. Press 3. Let's crease them all and then we'll just bring it back in a little bit. And then probably these two I'll crease even less. That looks nice. Yep. And now we've just got two pieces of thumb to do. These will be the pretty much the same thing that I've just done. So we'll press 3 into edge mode. I'm going to select them all, crease it and then dial it back a little bit. And then the same with this one into edge mode. Crease. Oh, it's not creasing. What's going on? Oh, I need to press 3. There we go. Crease, dial it back a little bit. And then for these two at least, we're going to dial it back a little bit more. And that's going to give us our hand. Lovely. Okay, we're almost done to wrap up this step. We just need one more piece and that's going to be the shoulder. Which, what we'll do for that is we're just going to duplicate this bad body here. So control D. Let's get this into place and sized up. So we're going to move it to about there. And then we're just going to make sure that it looks right in this view. It should all be centered because we haven't really moved much off the grid. So let's bigoticate it. Push it into the socket. How's that looking? I think it needs to be a bit bigger. We don't want to kind of overfill the socket. It'll look weird. That's not bad. It does suggest that we need to do a little bit of work on the socket on the torso. Which I will come back to. But for now, I think that looks pretty good. I think I just need to move that up a touch to line up there. I do think we can probably move that up a little bit. And maybe forward a little bit. Yeah, so actually what I'll do is I'll leave that as it is for now. But as we finish the arm, we'll move it all together so that it fits in the socket a little bit better. Okay, that does it then for this arm. Next will be the leg. It'll be a little bit easier, I think, because we can reuse parts of the arm. And we don't need to make as many pieces for the foot. So we should be pretty close to done after we've got the leg on. Right, let's move on. With the arm complete, we can now move on to the leg. And as I said, we can reuse some of the pieces that will speed this up a little bit. So let's just jump straight into it. We'll kind of start at the top of the leg and work our way down, I think. So we'll take this part here and duplicate it. So this is the shoulder. But before I do that, I need to just have a word with myself. I didn't rename this last time, so let's do that now. Okay, is that the duplicate that just renamed? No, good. So now we'll duplicate it. So it's still called shoulder, but that's fine because we'll rename it to... What is this called? Okay, I think we'll call it L upper leg joint. Because it's not the upper leg and it's not the hips, so that's what we'll call it. If anybody knows anatomy, by all means tell me what that's actually called. So what we'll do now is we'll just kind of rotate this around, so that it's pointing where we would expect it to. And then make sure that it kind of fits in its socket, which is not a bad fit to be fair. Yeah, that's not bad. We'll just move it in a little bit further. Yeah, that's okay. Nice one. It mostly matches up with the concept art as well, so that'll be fine there. Next what we'll do is take this part. And this needs to be duplicated as well, so control and D. And then we'll move it down like so. We'll rotate it and I'm just going to name it upper leg. And then we need to put this bad boy in place. Yeah, that's pretty nice. And then if you've not already guessed, we're going to take this part, which is the lower arm, so let's duplicate that, move it to where we want it, rotate it 90 degrees. Make sure we name it. Why is that called lower arm three? I did something weird somewhere. I need to go back and check my renaming. But we'll call this lower leg like that. And then we'll get this in place. And I probably do need to get in a little bit close here to make sure that's lined up as well as it can be. In fact, what I'm going to do is a translate X. I think I'm going to copy it. There we go. And then we can see that that lines up. So I just copied and pasted that in to make sure that it would fit perfectly. There we go. So that's that part. And then we're going to take this part of the arm and we're going to fashion this into the leg piece. So the legs got a little bit of detailing on, but that's not too difficult to add. So that's what comes next. So control and D. And then we're going to move this here. We're going to rotate it by 90 degrees. We're going to call it lower leg two. Hopefully that naming won't mess up. And then we just need to make some changes to this. So let's put it roughly in place. That's pretty nice. And then we can see that it's a little bit too thick at the moment. So we'll make it small and then I'm just going to restore the height to it. And then I'm going to go into edge mode and get that edge loop there. And with my crease tool, just harden that pretty much all the way. And then I need to get this kind of rotation on it here. So I'm going to go into vertex mode for that and select the vertices. And then with my rotate tool, I'm just going to do that. And then you can see that it also is a little bit smaller. So I'm going to scale it in as well. So that pretty much gives me the shape I want there. Then I'm going to go back into edge mode here. And I'm going to move this up a little bit. You can see that then the shape follows a bit better. And then back into vertex mode, I'll select all these at the bottom. I'm going to rotate those to match the shape again. And then maybe make it a bit wider. Yeah, that looks okay. So that's the beginning of our leg shape. We now need to add this little bit of detailing, which I'm going to call the shin pad. I don't really know what it is. I just thought it looked nice. So let's do that. To do that, we're going to go into object mode for now. We'll press 1. And it's going to be these four faces on the front that create this for us. So into face mode 1, 2, 3, 4. We'll then perform an extrusion on these, controlling E. And we're going to add a bit of an offset, not too much. And then we're going to extrude again. And thickness won't work this time because it kind of takes out in funny directions that I don't want. So instead, I'm going to go to my move tool and just bring it forward by a bit. That's kind of nice like that. Okay, so that gets us what we want, but I don't want this detailing all the way around. It stands out a bit too much. So we're going to rejoin it down at the bottom, these here. So if we're going to vertex mode, there we go. And I'm going to go to mesh tools and I'm going to target weld that vertex onto that one, that one onto that one, and that one onto that one. And then that'll help this detailing look really smart. So let's press 3 to see what we've got so far. Maybe I need to change my tool. Okay, so that actually looks okay as it is, but I want that detail to stand out a little bit more. So we're going to go into edge mode. I'll set that, but I don't want that one there. I'll select those and that one and this one here if it lets me. So we'll get those and I want these here as well. We'll just crease them together because we want a similar sort of effect. So that's the selection we need. Let's get our crease tool and then we're just going to crease this as far as we want it to. So I'm not going to crease it all the way because I think that stands out too much. We'll go for something like that, I think. Yeah, and then that detail stands out fairly nicely. So once we get a kind of plasticky looking material on there, that'll look pretty good. And so that leaves us one more piece to create which is going to be unique. We're not going to copy anything from up here this time. It's going to be the foot, so let's get a cube and let's put it roughly in the right place. We'll call it L underscore foot. That's a good name for it. And then into our orthographic views to get it roughly sized up. So it needs to be a little bit wider than that. And a little bit taller. That's a good start. How's it looking in this view? Not bad, but I think we need to bring it forward a bit and just make it a bit longer. Okay, that works pretty well, but to add extra detail what we're going to need is some extra edge loops. So holding control, I'm going to hold shift as well. That snaps where these can go in. It means I can get one in the center. I'm going to put one, in fact, I probably want one there. And then on this one here, I will want one that is in the center there. And that's going to help me to produce this shape hopefully. So now I'm going to go into vertex mode and get these vertices here and bring them down. This one here needs to come down a little bit. This one here also could do with coming down, but not too much. That's okay there. And then we can see here, we've got some changes that need to be made. So that's going to come down. That middle one can stay there. This one's going to come up and move in a little bit. Yeah, that's not too bad. Let's press three. Not bad. So we need to crease some edges now to get this to sort of hold its shape. I'm just going to move that up a little bit. And then these two together, I'll just bring forward a touch. And maybe these two here, I'll bring back just a tiny bit. So now I'm going to go into edge mode and we're going to do the ones all the way around the front. Around the top rather. So we'll get those. I'm going to press number three to see what my creasing is going to do. Go to mesh tools, crease tool. And then not quite crease all the way. That's pretty good. And then I'm going to repeat that on the bottom because I need the bottom to be flat. So we're going to get all of those. And I probably want these as well to try and get as flat as possible. So then we'll crease that all the way. Yeah, that looks good. And that is our foot. I think what I'll do is just bring that one there. In fact, I'm just going to have to move the whole shape down to do this. I want to round the top off a little bit more. So I'm going to get that edge there and that edge there and just bring those up ever so slightly. And then make sure that the overlap isn't too much between the foot and the lower leg. Yeah, that's pretty nice. Let's just go into vertex mode now and make any final changes. So I don't want it to be too tall. I think this vertex here can come back a bit because it's causing the shape not to look my favorite. Yeah, that'll do it. Right. Back into object mode, we will leave all of the smoothing on for now. Okay, that does it for most of the trickier model pieces. In the next step, what we will do is the finishing touches. So we'll smooth things. We will mirror them over. We'll add the antenna, get everything generally ready to go for UV mapping and texturing. So I'll see you in the next part. This step is all about getting the modeling finished and I think we'll start with getting a little antenna on the head of our little chap. That's going to be nice and straightforward. We're going to start with a cylinder. So I'll just create a new cylinder and then let's move this up like so. I want to drop the subdivisions on the axis. We're going to knock that down to about 16. Should be nice. I still want this to look quite round. There it is. And now what we need to do is get this positioned. So in my top view, if I just put that into wire frame, I can see that I had that positioned about there and it looks like I had it slightly wider as well. Only slightly. Okay. And then in this view here, it looks like I'm quite close actually. And we need to just get that positioned about there, I believe. And then you can see here that that's still above the mesh. So it's going to have to go down slightly more like that to make sure that it intersects. Then what we're going to do is we're going to name this antenna and we'll make our changes. So the first thing we need to do is go into face mode and we're going to select all the faces on the top like so. And then we're going to extrude them. Add a slight offset like that. That looks good. And then we'll extrude again and we'll add a bit of thickness just to bring it up a bit. Then we'll extrude again. We'll add another offset. This is going to be slightly more because it's going to be the thickness of the antenna itself. And then we'll extrude again. This is going to give us the height. So we're going to need to look at this view this time. So let's raise the thickness to about there. That looks good. Make sure that we can see the top of this. We'll extrude again. We're going to add thickness again like that. And then we're going to select this face and holding shift double click on the next one to get the whole edge loop well extrude and we'll add a bit of thickness to that. And that's just going to add that bit of detail to the top. Okay. That's the antenna done. Pretty darn good. That will do nicely. Next what we need to do is attach the head to the torso. So we're going to create a little neck for that. And that's actually just going to be two metallic looking cylinders. We're going to let the audience imagine how exactly the head is attached and how it moves around. We're going to keep it simple. So we'll start with another cylinder. And I'm going to put the subdivisions on the axis to 16 again. 16 is a nice number. Put my move tool on and then we need to just sort of get this in place. So in this view now what I want to do is just turn on the grid because I want to know I'm going to take this off centre but I don't want to take it too far off centre. So let's just make this slightly taller. It needs to intersect the torso and the head. That'll do. And then we're going to move it off to the side just slightly. And then I'm going to duplicate that. In fact, I'll name it first. We'll call it neck one. That's it. That was a good catch. Duplicate it, move it over. I just want this one to be slightly thinner for no real reason just to add a bit of visual variety. So let's scale that up as well. So those are going to be our two neck pieces. That'll do nicely. Those are the last things that we need to model then. Now what we need to do is just the finishing touches to get this ready to be mirrored. And the first thing I want to do for that is to just reposition the arm. It's not quite in the socket as I would like it to be. So I'm going to select all pieces of the arm like that. And then we need to get this positioned. So if we have a look in this view here, we can see here's the socket. Let's just kill the grid again. Here's the socket. And this is just not sitting within the socket. So we'll just move that up a little bit. That looks pretty good. So that should now be sitting within the socket. And I think we can't really see it in this view now. But this view here shows that it needs to come forward a bit as well. So bring it forward just so that it's sitting a bit more central within that socket. Yeah, that'll do it. So I'm now happy with the position of that. Next thing I want to change is I want a bit of overlap in these hand pieces so that there's not the gap between them. And then, again, the audience, whoever's looking at it, will just assume that these are somehow joined. Or like their imagination do the hard work so we don't have to. So I'm just joining these up. Just get a bit of overlap. That will be sweet. Beautiful. OK, we've got that. And then finally I just want to make sure that I'm happy with the naming of the arm because we've got L underscore lower arm. And then for some reason L underscore lower arm too, which I don't like, that's really uneven. So I'm going to add a 1 to this so the naming is a bit more consistent. Right, now that we've made those finishing touches, the next thing we need to do is to smooth our geometry. Because at the moment it isn't smooth. If I show you what I mean, I'll select everything. We'll press 1. This is how our geometry actually looks. And if we were to import this into Unreal Engine now, even with the smooth preview on, this is how it would come through. So we need to make these changes. We'll start with the head then. And I think I'll just switch into my large perspective view for this. OK, what we're going to do is go to mesh and smooth. And you can see that it smooths it. And it tells us that we've done this once. We've subdivided by 1. And it's still 2 square. So if we now just click and drag on that to 2, that is much more like the shape that we had in mind. But for this one specifically, because I want the head to look smooth, this is going to take you up to 3. This is the only piece I'm going to do this with. But I do want that. So there we go. That's the head done. Right, we'll do the torso next. So there's the torso selected. And instead of going into the menu, I'm just going to click on this icon here for smooth. Click on that. And this one's just going to get 2 divisions. There we go. OK, this piece here just needs 1. As does this piece here, because these are already fairly smooth. So we'll just give them 1 each. And then everything else along the arm kind of needs 2. So we'll smooth it. And then give it 2 divisions. This one here, we'll smooth it. And give it 2 divisions. Yeah, that's pretty nice. This piece here, smooth it. 2 divisions. And then all the hand pieces need the same. So smooth 2 divisions. Otherwise, we don't get the shape that we want. Especially like this overlap and the rounding out. It just won't come through on the hands. So we'll get all of these. OK, that's the arm done. Let's do the, what do we call it, the hips. So we'll smooth that. And we'll give it 2 divisions. This socket here, or the joint that goes into the socket, just needs 1. This is going to have 2. This is going to have 2. This is definitely going to have 2. And the foot will have 2 as well. Just to keep it fairly simple. And then just this little bit here that allows that to move around. We're going to add 1 division to that. OK. So now all the smoothing is done. I think I'm going to make one more change. I think the neck looks a little bit too much. So to remedy that, I'm just going to move the head down slightly. Make him look a bit stumpier. Yeah, that's pretty good. What we need to do now then is get this left arm and this left leg to duplicate over onto the right hand side. There are multiple ways that we can do this, but I'm going to do it in the way that I prefer. So I'm going to select all pieces of the arm there. I'm also going to hold shift and select all the pieces of the leg. And these have all got different pivot points. I need them to have one pivot point that is exactly on the centre of the grid. So to do that, I'm just going to group them. Like so. And you can see they're all selected now, but more importantly, if we go into this centre view here, they all share a common pivot point, which is bang on the centre of the grid. And this is another reason that when we've been modelling, we've only used the image as a rough guide because we wanted to be able to mirror this later. So we've made sure that the model is on the centre line and haven't worried too much about the image that's just been there to guide us. So now that we've got that selected then, what we will do is go to Edit, Duplicate Special and we'll click on the little settings box. I'll just move this over here so you can see the effect when we do this. We want to copy. We are going to group it on the parent and then yours will probably be set to this. So 111. And we want the scale on X to be minus one. Like so. And that's it. When you click on Apply, it will duplicate everything over and you're all good. And what's also good about this is that now what we can do, let's just turn that grid off so it doesn't get too distracting, is just rename everything. So it's kept the exact name. So you can see this here is called L underscore shoulder. This here is also called L underscore shoulder, which actually until today, I didn't think Maya would let you do. I think it's because they're grouped that it's allowing them to have the same name and that helps us with renaming. So what we'll do is we'll select everything on this side, not the head though. So we've got all pieces of the arm. So I haven't selected the group now, selected the individual pieces. And then we'll do that with the leg. Yeah. And we're just going to rename these all in one go. To do that, we're going to go into Modify. And then we'll click on, what will we click on? Search and replace names. So we'll click on that and we'll delete these. So you can see how I'm putting it in. So we did name these really specifically. Everything starts with L underscore. It wasn't L space, it was L underscore. And that's because if we just replace the L, then it will replace all the L's. So we need something a bit more unique than that, which is going to be L underscore. So whenever it sees L underscore, it's going to replace it with R underscore like that. And then we can just click on replace. And now if we click on any of these, we've got R underscore shoulder, R underscore upper arm, R underscore lower arm one. Let's do a leg piece, R underscore lower leg two. So it's now all perfectly renamed as well. Isn't that grand? So we'll just do now a couple more finishing touches before we can wrap up this step. So the first thing I want to do is just get all those pieces we just put into groups out of their groups. So for that, we're going to go to Windows Outliner. You can see here are our groups. So we'll click on the name of the group, and then we'll go to edit ungroup. And they are now no longer grouped, and we'll do the same for group to edit ungroup. And now everything is all back as separate pieces. And now what we're going to do is just delete the history and freeze the transformations, which is good practice on anything that you model really. So let's select all of the different pieces of mesh. We're going to do modify freeze transformations, and then we'll just check that that worked on everything. Everything should be zeroed out or have one on the scale. Yep, that's all worked. And then we're going to do edit, delete all by type history. And we'll know that that's worked because underneath this section here now, there'll be nothing listed, which there isn't. So I'm just going to disappear the Outliner. And that is the modeling done. We have completed chapter one. In chapter two, we'll be looking at getting some basic materials on this guy as well as a bit of UV mapping on the head so that we can texture the eyes on there. So I look forward to seeing you for chapter two. Now it's time to start thinking about putting some materials on our little robot character. At this stage, they're only really placeholders, and we use them to create the material slots that we'll need when we get them into a real engine. But it also makes it easier to work with because we know what it will look like when it gets into engine. So we'll start with creating some fairly basic materials in this step. But the first thing I'm going to do is just make my workspace a little easier to view by getting rid of these image planes. They've served their purpose now, so I'm going to click on show. And I can now just click here for image planes, or you can see I've compressed Alt and 4 as well to get rid of them. Now what I'm going to need is my hyper shade. So let's open that up. And I just want to make sure that I can see the Stingray PBS is available in my hyper shade menu. If it's not, you need to load the plugin, Google how to do that, or drop a comment below the video if you're not sure how to do that. But there you go. I can see that Stingray is there for me, so that's no problem. I'm also just going to add a viewport to my hyper shade so that I can see what I'm doing. So we'll go to window, viewport. Oh, interesting. And I want to drop this just here. Where did create go? Oh, there we go. So now I'll just make that viewport a little bit bigger, and I'm going to press 6 so that I can see when I apply my materials. The first material we'll create is going to be a glossy white plastic, something that looks very Apple from the early 2000s. So we'll create a new Stingray PBS for that. I'm going to name all of these. We'll call this M underscore white. The MD notes that this is a material. And then we just create what we want here. So I want it to be white. So we'll drag that slider all the way across. And I want it to be glossy. So we're going to drop the roughness all the way down. And that's basically it. That's all we need to do there. And then we can apply that to all the elements of our model that need the glossy plastic. So I'm just going to drag and drop it on the mouse button onto the part of the model that I intend to have this material. And for the hands to save myself a job, I'm just going to select all the pieces like that. And we'll just right click and do a sign material to selection. And same on this side. Sign material to selection. And for the head, even though I don't want the glossy material on the screen, I'm just going to drop it on everything for now. And then we'll overwrite the screen later when we create that. That's the first material created and applied then. The next one we want is the metallic looking one. So let's clear our work area. We'll create a new sting, right? I'm going to call this one M underscore chrome, which is just going to be a nice shiny metal for us. So our base colour wants to be a shade of grey, but we might change that. The metallic we're going to change to one. You see that makes a big difference straight away. And the roughness is going to come down because we want this to be really shiny. Something like that looks nice. And then you can experiment with the different base colours. I want it to be quite a light colour. So we'll try that. And then, as I did before, I need to apply this to the parts of the model that needs it. So these two here. Also those. These parts of the leg. And these here. And finally, I think we just need them on the antenna. Okay, that's coming together. Just realised that because this is a new viewport, it's showing me the image plane. So I'm just going to turn those off because I don't need them in this view either. There we go. And the last material I will need is going to be like a black sort of rubbery kind of material. So we'll clear our workspace again. We're going to have another sting rate. We're going to call it M underscore rubber. There we go. So this one's going to be black. And I'm just going to take it slightly so that it's not perfectly black. And then the roughness needs to be a bit higher. Let's try 0.7. Pretty nice. I might actually just bring the colour down. And then we just need to assign this to the remaining pieces. So it's mostly going to be these joining pieces. And then just get his little tummy. And we're going to assign material to selection. There we go. So now let's just minimise our hypershade for a second and see if we're happy with them. So you can see, I'm not seeing any materials here yet and that's because I still have the shaded view on, which is this one here. Smooth shade all. What I really need is the textured view. So you can click on the icon there or just press 6 on your keyboard and that will bring that through. So you can see we've got our metallic areas. We've got the white glossy areas and we've got the black rubber looking areas. So that will do it for this step then. In the next one, we're going to work on the face and for that we're going to need to bring in a texture, do some simple UV mapping, create the material and then apply it to those faces. So let's move on to that. Now what we're going to do is create the material that we're going to put on the screen or the face of this character. And this is actually quite important for the character because he's quite a simple character. The only way we can give him any kind of personality or emotion is going to be through what we put on there. And it's just going to be cute eyes for now but we could do more with this going forward. So the first thing we need to do is make sure that we've got the textures. So I've got here head texture and I've got the Photoshop file that I used to create it as well. What I'm going to do is put those in the appropriate folder. So I'm just going to cut where they are. This is the project folder that I'm sharing with you. So you'll be able to find these in the source images folder. So we've got the front side top image that we used right at the beginning and paste into here the head texture. And I know that that's moved. So there we go, head texture. These are the eyes that we're going to use. So make sure that you get the textures from the link in the description or that you create your own so that you're ready for this next step. Back into Maya then. And we're going to go back into our hyper shade. Here it is. Clear the workspace. And in fact, before we create the material we're going to UV map the head. So let's go into face mode. And really all we need to do is select all the faces that make up the screen. And the easiest way to do that is just select the ones in the middle and then press shift and full stop to do a greater than selection. And you can see that that then goes exactly where you need it to be. So I'm just going to see how far... Yes, I'm just going to bring that back one with a less than. So that's pretty much all the faces that make up the face or the screen. Okay, so now I'm going to do a UV projection. So just quickly I'm going to go into my UV editing workspace and that's because it will show me this here. And I need to just make sure that I've got this, these faces that just take up the 0 to 1 space. So we're going to go to UV and we're going to do a planar projection. And it looks like it's going to be on the Z axis because that's the axis that looks like it's going through the face. So we'll click on project. And there we go. That's now created a projection of the face. If we only select those faces, that will be perfect. So that's the head UV map. That was nice and straight forward back into object mode. And then I'm going to go back to my modeling standard view. And this brings my hyper shape back for me which is what I wanted. So what we'll do now is create a new Stingray PBS. We'll call this M underscore screen. Rename that. And this time we need to use a color map. And that's going to be our texture. So we'll get that first of all. So there's color map. We need to scroll down. Here's where we can apply the texture. So we'll click on this little checker box here. This takes us through to file 4 is what it's called here. And I can click on this folder next to image name and choose head texture dot PNG. There it is. Open. And that creates the material. And now what I want to do is just make sure that I'm happy with the other properties for it. So let's just change this from sphere to plane. OK, so then what we'll do is click back on here. And I'm just going to have a look at the roughness of this. I don't want it to be very rough. I want it to look kind of like he's got a shiny glass screen. So we'll go for something like that. And we're going to leave it here for now but I think we will come back to this material in a second. So what we need to do now is go back into face mode. And luckily for me that face selection is still there. Now remember you can just get the one, two, three, four faces that make up the middle and then do a shift and full stop to get a greater than selection to make sure you get all of those. And then with our M underscore screen material we can right click and assign material to selection. And that will give him his fabulous little face. Look at that guy go. So we'll just minimize the happy shade for a sec. Have a look at him in all his glory. Not bad. And this is where we're going to get to this final change. So we want this to look like a screen but the eyes are quite dim and screens emit their own light. So we want our screen material to mimic that same effect. So we'll go back into our hyper shade then. Make sure that we've got our M underscore screen selected. And we're also going to use an emissive map. So we'll tick that box there. We're going to connect the same texture to that emissive map. So head texture. And already this looks a little bit glowier. We'll click back on here again. And then what we're going to look for is emissive intensity. And now we can use this slider. And you should be able to see that happening. As we make the slider go up it makes the eyes look brighter. And it goes to one but I think you can type higher numbers in there. So there you go. If you want to make it 10 they can seem really bright. I think that's overkill. We've got something like 2. So go between 0 and 2. Yeah and 2 looks quite nice. So again this is just for preview purposes really. We're going to rebuild this material when we get to a real engine. But for now we want to know how he's going to look as we're animating him. So this gives us a good impression of that. Okay so we can close the hyper shade now. So this is our little chap with his materials on. We've completed another chapter. Well done you. So moving forward in the next chapter and the next few steps we're going to be rigging this guy which means giving him a skeleton and then assigning the different parts of the mesh to the skeleton making sure that that skeleton has controllers and that he's ready to animate. So I look forward to seeing you for more fun. So here we are in chapter 3 then and this chapter is going to be all about getting our character ready to animate with moving forward. So we're going to be rigging him. And before we can move on though there are a couple of housekeeping things that I should have done in the last step but I forgot to. So we'll get those sorted now. The first of these is the fact that I didn't put a material on these two parts of his neck. So I'm just going to select both of those. We'll just go into the hyper shade quickly. Find my chrome material and assign material to selection. Like that. And then that will have this metallic material on. Next we want to just move our character up so that he's standing on the grid. And to do that I'm just going to select everything but I'm just going to deselect his foot and reselect the foot and that will just put this controller down at the bottom. And then we're going to move into one of these views and again a bit of housekeeping let's just turn off the image planes like that and we'll need to turn on the grid for a minute just so that I can line this up. So it's about getting his feet thicker black line here. And it doesn't have to be perfect but it does have to be close. That'll do there. So then we can just turn these grids back off because they just look ugly on video. And one final thing I want to do and this is just a prep stage for later that's to get all these parts of his body or the geometry and we're going to put this into its own layer and that will mean that we can make that layer reference later so that we don't accidentally select it and it's just going to put it into the layer. So with everything selected we'll click on layers and then we're going to go to create layer from selected and that'll put this so if I just toggle the V that everything that I had selected is in that layer we will rename the layer to geo which is short for geometry and save it. Okay now we're ready to start rigging. So first of all I can deselect everything and I need to change my menu set from modeling to rigging and we get some new options up here and the one that we want to open first of all if we go to skeleton it is the human IK option we click on that and it opens it up and then we get some tools here that we can use. What we need to do is just click on the first button which will create a skeleton for us. There it is and you can see that because of the way that we modeled our character the scale isn't too far off but you can see that it's not perfect because he's got arms coming out of his head which is not how most people work. So we need to sort that scale out and we also want to make it so that we can just see the rest of the skeleton and in the viewport there is an option for that this little chap here which is called x-ray joints or you can also get it from I think it's in show no in lighting no in shading x-ray joints but I'm just going to click it here and then it will always show the joints on top and so before we just start to get this scale correct let's name this character so that we know what we're working with so on this little drop down here you can click on rename character and give it a name I'm going to call it rob for rob the robot I know that's a little bit cliche but I'm not feeling uber creative today there we go right now we need to just scale him down now there are different ways of doing this you can just change the character scale in here so if we go to something like 0.8 and that will scale it down but then you see that sets it back to 1 and it's a bit finicky so I'm just going to undo that and the way that I like to do it is there's this little controller here if you select on that so it's just a little cross between the legs and you can use that to make sure that the scale tool is available to you and for now what I'm going to do is just switch to the front view because what I'm most interested in is getting this hips controller in the centre of the hips about there so whether or not the arms line up or the heads not important for now we're just getting the hips in place and everything else will flow out from there okay so that's pretty good now what we'll do we'll leave the legs for now we're going to work our way up the spine but you can see there's only one point at which the spine can bend because of the way we've constructed the robot which means there are too many spine joints so what we can do is here in our settings we can just take the spine joints down to 1 and you'll see that will alter the way that our rig looks a little bit but it also means it's a little bit more accurate as well so now we can just move up to the next joint which will be called something like spine or spine one I forget what it is the name is not important for now we're going to move that up to here which is the point at which you can see will look like the little robot can articulate so that's where we're going to place that next we're going to work on the arm and you can see that I'm working on this arm specifically I'm never going to do anything on this side of the character we just work on this side and then we can mirror it so this little area here is essentially the clavicle and we're going to put that up to about there and then this one here is going to be where the shoulder rotates from and I'm just going to place that about there which makes sense it's pretty much the centre of this little shoulder joint we created earlier then we need to put the elbow in place so that's going to be pretty much in the centre of that joint we created and then finally we need to move to this joint this joint here and this is going to be where the hand pretty much connects see this is the bit where it needs to bend from in fact I'm probably going to put it about there so that the range of movement is not too high and you can see that I was moving this across and I've now just moved that arm piece down I need to check that that hasn't broken the definition so what I'll do is just move over to this tab here everything here is green it says characterisation is valid as long as everything is green any changes that you make are okay if they ever go orange then you've done something wrong you need to redo it and you'll have noticed that so far the way that I've moved all of these joints around is that I've moved them I've used the move tool if however I use the rotate tool so I've moved that one down but if I've done it by rotating you see that these have now gone orange which means bad bad bad so undo that make sure that all stays good I'll just be flicking back and forth between these two tabs to make sure I'm not doing anything silly but that there is going to do it for this part of the arm what I need to do now is just check how it looks in the top and we can see the answer to that is not great so we're going to select these again and I'm probably just going to press 5 on this and turn on x-ray joints just to make it a bit easier for me to work with so we'll bring the arm forward at the shoulder and then everything else should line up because it's that hierarchical structure which means that when you do something at the top of the chain everything below that follows it you can see that the wrist I'm just about happy with, I'll leave that there next we need to do the fingers and again we might need to make a change to the rig because I think we've got too many joints in the fingers for the amount of joints we've got in the hand that we modeled so I'm going to tip the number of bones down to 2 and you'll see that reflected in the hand and I'm also going to just keep the thumb and the middle finger, you can see that there aren't individual fingers in this it's just like a mitten so we only need one finger to control it so we'll take off the index the ring and the pinkie and that is all the hand we need and then it's just about putting things in place so it's where bends should happen so I'm going to straighten this up and then move that to where the bend should be same with this one and then this one here is just going to go right out to the end of the finger or close enough I'm overlapping it a bit because there's a bit of a slant to it and then we're going to do something similar with the thumb so that's going to bend about there this one here is going to go about here and this one's going to go out to the end of the finger or thumb and then what we need to do is for the thumb, especially I like to go into the 3D view to check this because you can see the thumb actually has a bit of the height so the finger stays flat but the thumb drops down a little bit and a lot of people will model their characters in a way that that makes sense I tend not to so we'll get that part of the thumb we'll just bring it up to about the middle get the next joint and move that up a bit and then the end of the finger should be fine okay, I think I'm happy with the arm next we'll do the leg so I'm going to move into the front view for this you'll see I'll be changing my views fairly regularly for this to choose the one that makes the most sense and then we're going to put this here and it's not ever so important that this is in the center of this circle there this is actually more of an optical illusion it makes more sense to have it where we want the leg to swing from and I'm going to put it about there try and get it as central as possible that's good and then we're going to get the knee which is currently too low down so we're going to drop that in place there and then I'm probably going to change to the side view now to check where the foot should be so that for the knee is fine the ankle joint then is going to come down again this needs to be where you want it to articulate so for me I think I want it to articulate about there and then this part I always used to think that it went right to the front of the foot but it doesn't it goes to the ball of the foot which is about there in this case perfect and so there's only one more thing that we need to look at and that's the head and the neck as well I suppose so this is the neck joint we're going to move that up and I think it's about there but we need to check the side view for this as well and yeah that's pretty spot on so remember that the way that the neck bends just an illusion really nothing actually bends and then this bit here is the head and this usually goes to the top of the head so I'm going to go fairly central and up towards the top ok so that is now all the bones in place what we need to do now is have them mirror over so this side's good this side not so good so what we'll do is just click on this little icon here and as long as we have this Rob character selected it shouldn't matter what selection we have here some people think you need to select the bones that you want to mirror you can see I've got this top of his head selected here if I just click on this icon there we go he's now all mirrored and that's all we need to do in this step really we've got the skeleton created we've created a character definition we've put all the joints in the right place and we've mirrored them over so in the next step we're going to be creating a control rig for the skeleton and also connecting the geometry to the skeleton so that when we move the skeleton that will drive the movement of the character so I will see you in the next step now that we've created and got the skeleton that we want our final step on the rigging chapter is going to be to get this control rig in place and to make sure that the geometry follows the skeleton right so what we have so far is a skeleton and if we select any of these joints we can use the rotate controller and that will move it and you could animate this way if you wanted to but mirrored is much more powerful than that and it has some really cool tools that you can use the way that we want to access this first of all is if we just go to definition and then we've got some additional controls across the top and there's this one here which is create control rig if we click on that you'll see that the skeleton starts to look a little bit different and we've got lots of these extra controls here and this is what we want so now instead of having to rotate I can grab this circle here put my move tool on and then just move that hand around you can see at the moment we haven't attached the geometry to it but the skeleton is now moving in what's called inverse kinematics which means that it's doing the mass if I move the hand it will calculate what needs to happen with all the other joints to get that hand over there the same applies with the hips like that and also with things like the shoulders so that's brilliant we've also got the fact that the skeleton is here and you'll see that with my move tool this really doesn't want to move but with my rotate tool it does and that's because it gives us the ability to animate with both forward kinematics which is when you rotate each bone individually and inverse kinematics where you select a controller and you can just kind of move it around so that's brilliant isn't it I'm a big big fan of that so now that we've got that there are a few things about it we can change so at the moment we've got this selected which is full body and you can see that if I move this the whole thing goes we can change this here and instead of full body it'll just move the arm which can be better for making sure that you don't completely lose control and then there is this one which is just for the selection but in this case you can't do anything with it that would only work on forward kinematics really and you can also change so I'm just going to put that back you can also change the look and go into this little blue drop down menu here and to edit control rig there's a rig look and at the moment we're on wire but if you want box instead so that you want this to be a little bit easier to see you can change that and there is also the option to have stick which looks like that and this is down to personal preference my preference is the wire because that's the one I'm used to but you can choose whichever one you're most comfortable with they just look different they all work the same okay then now that we have set up this control rig for our skeleton we need to make it so the geometry is going to follow that skeleton so here's what we'll do for that we need to just turn off the forward kinematics and the inverse kinetics so this is the two types of control that my just created for us and we're going to click on this icon here which turns back on the original skeleton and this is what we're going to make sure all the geometry follows I'll try and demonstrate this as clearly as I can so what we need to do first of all is select a piece of geometry and we're going to start with the hips and then we need to select the piece of the skeleton that we want that geometry to follow when it moves and I'm just going to turn off the move tool for this so I've got that and I want this to follow this joint here so I'm going to shift select the hips and because this is in a hierarchy you'll see it selects the whole rig but that's not a problem and then what we need to do is parent the geometry to the rig so selecting in that order was important geometry then joint and then you can go to edit and parent or I'll show you on the next joint so this one here I'm also going to parent to the same joint so shift select and this time I'm just going to press P on my keyboard and now if I was to move this skeleton you would see that although this whole skeleton doesn't go with it but you would see that when I move that joint that goes with it which is good next up we're going to select the torso and that's going to follow this joint so then we'll press P the next piece of geometry that I'm interested in is this one here and I'm going to have this follow the clavicle let's just select that properly and then press P then we'll start moving down the arm so this upper arm is going to follow this shoulder joint so I'll press P and you'll notice that if I want to select the bone I can go like this and that will only select the bone because there's a order of priority in which Maya will let you select things so if I want to select the geometry I can click on it but if I want to select the bone I can click and drag and that can make selecting things that I want now really easy so if I click on this part of the geometry here and then just hold shift and drag I can select the bone and press P same for this piece of geometry shift and drag to get selection and press P so both of these lower arm sections have gone on the lower part of there I'm also going to have this parented to that same bone and then for the hand it's going to be which bits I want to follow what so let's just press what am I pressing F and then we'll select that piece of geometry and this this joint P this piece of geometry and this joint P this piece of geometry and this joint P this piece of geometry and this joint and P ok now at this stage I'm just going to test a few things out let's just turn back on the controllers here. So we'll get that there and we'll move the arm and make sure that things are following as I would expect it to. And that looks pretty good. And then we'll just select this hips controller and move him up and down. Yeah, and then all the torso and the arms going with it so far. So then we'll just turn that back off and we can keep going. So next up, we're gonna have this piece of geometry here. As I said earlier, we don't really want this to move. The reason that it's a black material that you can't really see any detail on is that the audience, the player, will just assume that it's moving. So we'll select that and we're actually gonna parent it to that joint there. Just turn the move tool off again. This upper leg part is gonna be parented to the upper leg joint. The first lower leg part is gonna go to the lower leg joint. And then the second lower leg part is going on the lower leg joint as well. And finally, the foot is gonna go on the foot joint, P. And the final thing to do now is just get the head attached and the neck as well. Don't forget the neck like we did earlier with the material. So I'm gonna select that bit there and that's gonna be parented to this joint here. Okay. Same for this, I'm gonna parent it to that joint there. And for the head, select the head, shift select this joint in the head, press P. And then for the aerial or the antenna, I'm gonna select that and actually just parent that to the rest of the head. Okay. Now, what I'm gonna do is I've just done one side. What I'll do now is just fast forward me doing the other side so you can see what I'm doing but it's gonna be identical to what I did on this side. There's just no way of mirroring this. We have to do this the old school way. So here we go. Okay, I think I'm done then. And the reason I say I think I'm done is it's really easy to just miss something or to parent something that you didn't mean to to the wrong thing, et cetera. So now we need to test. So we'll turn that skeleton off. We're gonna turn back on these controllers here and we just need to test them out. So we'll grab his hips, get our move controller and we'll just try and move them around. That looks good. Everything's moving there as I would expect it to. Let's grab a leg and move that around. Okay, that's actually the foot control. I want this one. Yeah, that looks okay. And everything's kind of doing IK where I'd expect it to. Just check the other leg looking good. Check an arm. Yeah, check the other arm. Yeah, check the head. So you can use the move control on the head. I actually prefer to use the rotate on the head. Yeah, that looks okay. And we'll just move his head side to side. Yeah, good stuff. And then finally, let's just check the fingers. And you get this kind of cool finger controller on the end here, which is kind of nice. And we can rotate that and that will kind of make a fist for us. And there's one on the thumb as well. Let's have a go at that. It doesn't really behave in the same way. There we go. It looks like that is working as expected. We'll just check this knuckle joint there. Yeah. So what you should do now is continue to check everything. Make sure that everything behaves as expected. And if it doesn't redo it. Now what we need to do is just a couple of loose end tying up things. So we'll go back to, where are we? Channel box layer editor. We have our geo layer. And what we want to do is make that reference. So now we just can't select it. We can still move it by moving the controls. Here we go, look. But we can't accidentally select it and break anything. So that's good really, isn't it? What we're also going to do is make sure that we save this as its very own file. Because this is now a rig that we're happy with. It works as expected. Rigs can be a little bit temperamental and can break. And so we're going to save this and then never work on this again unless we have to. This is just something we can go back to if the rig breaks down the line. So we're going to do file, save scene as. And I'm just going to call this clean rig like that. And then I know I've always got a clean rig. There we go. And that's it. We've completed another chapter and you have now got a rigged character who is ready to be animated and then eventually put into a real engine and he's going to look so sick. So I hope you're excited about the next chapter. It's going to be a long one. It's going to include all the animation. So I look forward to seeing you all excited for animation in the next step. Okay then, now that the rigging is complete it's time to get some animation put onto this little chap so that he's ready to go into the engine. We're going to start with creating an idle cycle which is the one that plays when the character receives no input from the player. So when they're standing still you don't want them to be dead still. You want them to look as if they're still alive. Sometimes it is called a keep alive loop or a breathe loop as well. Now I want you to kind of suspend your belief a little bit for this because we're going to make this robot look like he's breathing and of course robots generally don't need to breathe but to make it look like he's not just dead still we're going to create this idle cycle. So as you can see I've got my rig open and to make sure that I don't save over anything that I want to keep I'm going to save it straight away as idle. So file, save scene as and we'll call it idle. So it's going to be 12 for me. I don't cycle. There we go, save. Next up so you can see that I think I left you with the channel box open but in human IK what I want to do now is just make a change here. And so here we've got this kind of full body control. So if I just select a control and pull him over you see the whole thing moves. I'm going to move this over to here and this is where we're going to do our animation and what it means is that if we pull it over it won't move the whole body but it will move the whole arm. And this is just to make sure that we don't end up setting keys on things that we don't want to. It gives us a little bit more control as we're going forward. What we're also going to do is just change out of the modeling view. Now there is an animation view. So if we have a look at this. So this gives you a viewport up here and a graph editor down here. I don't really like it's good for the graph editor but it doesn't give me enough space here. I'm not a massive fan of that. So I'm going to do it a different way. I'm going to go to Maya Classic and that's because it gives me a timeline down here which we'll need. And then I'm going to put a graph editor on the side and I'm going to suggest you do the same thing. So what I'll do first of all is just go to Windows, Animation Editors and Graph Editor and open one of those up. You can see for me it's already docked to the side because that's where I tend to keep it. It might open for you in a separate window like this. If it does just move it over to the side like so and then you can kind of have your views side by side which is the way that I prefer to work. One of the things that I want you to check is that this little icon down here isn't red. So it shouldn't be by default but this is Auto Key. And again to make sure that we are in control and we don't want to set any keys that we don't mean to. We just need to make sure that that's off and that'll keep everything nice and clean and organized. The first thing we need to do to get this animation going then is to create our first sort of base pose. This is how it's just gonna sort of be stood. And we want this to be fairly dynamic. So I'll just start building this now. We can just make that a little bit smaller because we don't need so much of that just yet. And we'll start putting this pose together. So I'm gonna start by getting the hips controller. And you'll notice I do a lot of selecting with this marquee selection and just nip the edge of what I want. I find that's a little more accurate for me. So I'm just gonna drop his knees down. I'll probably raise that back up a little bit later but just to give me room to move his legs we're gonna drop his waist down a little bit. And then what I want to do is I'm just gonna bring this forward and out a little bit to about there. And then I'm also going to attempt to rotate this out a little bit. Can I do that by moving the toe? Let's see. It's going at a funny angle. So what we'll do for that is we'll just drop into the top view. Pressing F to find that particular control. Um, it should be that one. Let's just double check. Yep. And then I'm just gonna rotate it using this yellow manipulator here. Like that. And that will just make sure that it stays flat on the ground because otherwise that wants to go out a little bit. Okay, then what we'll do is take the other foot and this one's gonna move back and out as well. Kinda like that. Now the thing about back feet is generally we'll raise our heel up off the ground if that's how we want to stand. So what I'm gonna do is I'll just go into my top view again just so that I can rotate that out a little bit. And then I'm gonna do some other stuff with it and I'll probably need my other views to help me get this. So the first thing I'll do is I want to raise this up so that it looks like he's sort of using his toes there to get the extra height. And then I'll just turn the grid on so that I can get that lined up. And I think what I'm also gonna do is just rotate it that way a little bit as well. So that should give that a fairly nice look. So let's have a look at how these legs are. Not bad. So what I'll do now is I'm just gonna bring the hips back up because this is kind of my up pose really. So that's not bad. I think this foot here might just need to go back a little more. Now I don't like it further back. I think I like it actually a little bit closer in. So I think what I'm gonna have to do is just raise raise his hips up a little bit further and maybe just bring his hips further forward a bit as well. Oh, that's better. Okay, the next thing I'm gonna do then is just try and sort his arms out. And obviously we don't want these to be stuck out the way they are. That's too much, so just raise them up a little bit more again. There we are. So let's get, I tend to just do these with the wrist controllers if I can. And what we're gonna do is just kind of bring it down, bring it in. And this one's kind of gonna be slightly back this arm. So we're gonna bring it down a little bit more. Let's just make this view a bit bigger. Bring it to that kind of position. And then there's a fairly good starting point. I'm gonna get the shoulder controller and just sort of, not the shoulder, the elbow controller just to bring that out a little bit as well. Let's see what we get. That's not a bad start. I might have to come back and refine that. And then we'll get this wrist here and I want this one to sort of do the same thing but this one's gonna be forward a little bit. We'll bring that down, bring it in. We don't want it to be too far out. I think what I'll do as well is just rotate that hand around a little bit. Same with this one. Everything's a bit too straighter. Maybe just rotate that in. Same with this one. So you can see I'm just sort of building this pose as I go until I start to feel happy with it. And one of the views that I've got to be in the most conscious off here is the back view since that's the one that will likely see the player from most of the time. So I don't want that to get too out of control really. I think I'm also just going to rotate this a little bit so that shoulder's back and he's kind of leaning that way. And then we're just going to counter that by bringing the head back so that's a bit more forward facing. And that should then give me a little more freedom with what I can do with this arm. So I think we'll use that as the base pose. I think that's good enough, that will do. I think I'll just make one more slight change to the fingers because they look far too rigid. So if you just let the end controller and rotate them around, you'll see that that kind does the whole hand. And then the thumbs you kind of got to rotate on two different axes. So we'll bring it in a little bit. You can see that kind of goes up too much. So if we bring it down that way, that looks a bit nicer. And then we'll do the same for the other thumb. Make sure that I have the one controller that I want. So bring that in a little bit and take it down. Okay, so we'll say that that is the sort of base pose that we're going for. The everything else is going to be built from. What we need to do next is get things so that they actually move. So for this loop, I've decided that it's pretty much going to be a 50 frame loop. So you can see at the moment that we have 200 frames on our timeline and it's displaying 120. We don't really need to take that 200 number down but we do need to take this one down. I'm going to just type 51. And the reason that I'm doing that is because it's a 50 frame loop and we start at one. So it's one to 51 will give us 50 frames. And now we're going to start getting some movement. So let's just select the hips and check that it's doing what I want it to yet. So when I move the hips up and down, everything above the hips goes, that's good. So with just the hips selected, we're going to put our play head on frame one and then we're going to press S on the keyboard. And what that does is sets a key frame. We also need a key frame setting at 51 because this is a loop, frames one and 51 need to be identical to make sure that it returns back to the position it started at. Then in the middle, we have frame 26. And on frame 26, this is going to be our down part of the animation. And what I'm going to do is just on the Y axis, bring him down a little bit. We don't want to go too far with this or it starts to look a bit, a bit too much. And then we'll press S. And then if we play it, you should start to see that we've got the beginnings of this sort of breathe animation. So that's the first part of it, done, essentially. The last thing we'll need to do with this actually involves the graph editor. So if I just bring the graph editor back to it, so it's got some space. And we'll select that hips controller again and I'll press A. In fact, I'm going to select everything like this and then I'll press A again. And you'll see that there are two curves here that have got some movement on them. That's represented by these lines here. And what we're going to do is make sure that this kind of happens forever. And it's not ever so important on this particular loop but it will be important on the other. So we'll get into the habit of doing it early. I'm just going to zoom out a little bit. And what we're going to do is go to view and we're going to select infinity. And what that does is shows us what the animation does before and after the keyframes we've set. And we can have it cycle so that it keeps going. To do that, we're going to go into, let's just select everything. We're going to do curves, pre-infinity cycle. And you'll see that that curve now is curving before we set any keyframes. And if we do the same for curves, post-infinity cycle, that will happen forever. Which is really useful to us in getting this loop. Especially when we start adding offsets down the line. So that's the hips done. I'm happy with that. The next thing we'll do is grab this chest controller just here. And we're going to do the same sort of thing. So we're going to go to frame one and press S. Frame 51 and press S. And then go to frame 26. And on this one we want him to kind of look like he's breathing. So we'll put the rotate tool on and we're just going to rotate him forward a touch. Not too much. We don't want this to be distracting just enough that we can see it. And then we'll press S. And then we're going to play this to test it out. Yeah, that's really good. That's doing pretty much what I want it to do. Now, the problem with this is it all starts sort of very mechanical. And one of the ways that we can alleviate that is with something called an offset. And it kind of creates a bit more of like a wave of movement going through the character rather than it all being this sort of mechanical look we've got now. And this is fairly easy to do in this case. So if we just go to make sure that we're seeing all the curves and we select everything like that, we're going to do our pre and post infinity. So curves, pre infinity cycle, curves, post infinity cycle. And this is really important for this one because what we're going to do now is move these frames along the timeline a little bit. So I'm going to hold shift on my keyboard and then I'm going to do middle mouse for this and just drag to the right. And then I'm going to move it about, what have I got in my nose? About five frames to the right. So one, two, I've already done, three, four, five. And you can see that now there's no key frame on frame one anymore, but it's moved to frame six, frame 31 and actually frame 56, which we can't see here. But the reason that this offset is important is if we zoom in on this curve, there is still some movement happening before frame six. And that means it's going to stay even despite the fact that we've moved it on. So we'll do that with anything that we offset. That's really important. Okay, so what we'll do now is play this again and see how it's looking. You'll see that there's a bit more of kind of a wave of movement going on because we've done the offset on the chest. So I think that looks pretty good. What we need to do next is a similar sort of thing that this time to the head. So let's go to frame one. And what I'm going to do on frame one is just like the head controller, I'm actually going to move it up ever so slightly. And that kind of creates a bit of overlapping action, which kind of looks a little bit better. So with that done, we're going to set a key frame on frame one, move to frame 51, set it again. And then on 26, as we've done so far, we're now going to rotate it down a little bit. And that's going to make the head look like it's got a bit of weight and like there's some effort going on. So we'll do that. And we'll just play it to make sure that that's working. Yeah, that's not bad. And what we're going to do now is offset that movement. So let's just select this again. We're going to make sure that we can see all the curves. We're going to select all the curves. Let's just press A, make sure that we're showing up. So it's going to be curves, pre-infinity cycle, curves, post-infinity cycle. And then we're going to do this offset. So I'm holding shift and my middle mouse button, I'm going to move this one, I think probably another 10. So one, two, three, four, five. One, two, three, four, five. Yeah, and let's move it to frame 11, that's perfect. So then we'll test this and see if I'm happy with it. I might decide to tweak this a little bit. Let's see. Oh, no, that's not bad. Oh, I quite like the fact that his head's quite huge and now it looks like he's got some real weight to it because of the way that we've animated it. So that's pretty good there. The next thing we need to do is just something with the hands. So I'm finding all of these bones at the moment a little bit distracting. So let's try and turn these off. So I'm just clicking this icon here that turns off your forward kinematics. And then we've just got the controllers for inverse kinematics showing. And then we'll have a look at what the hands are currently doing. So they're going up and down. That makes sense, I'm happy with that. But I kind of want them more to look like they're staying still. So here's what we're gonna do. We're gonna select both wrist controllers and on frame one, we're gonna press S and we're just going to, yeah, we'll set them on frame 51, we'll press S as well. Okay. And then at 26, here's what I'm gonna do. So I'm just gonna put it in this front view here. I'm gonna turn on this tool here, it's called the grease pencil. And I'm just gonna go to here, it'll let me make a mark on the screen. So I'm gonna put one mark here and one mark here. This tells me where those wrist controllers are on frame 51 and frame one. So now if I move to 26, I can see sort of where they've moved to. So what I can do now, I can just turn the grease pencil tool off. I'm gonna select this controller here. So this is just the character's right hand. I'm gonna move it up and out a little bit. Like that. And then the same with this one. So I'm moving up to about the same height. But I am moving it out a little bit as well and we'll press S. And then what I'll do is just go back to frame 51 and remove that mark I made with the grease pencil. I can turn that tool off now. Oh, I can try to go away too. There we go. And then we'll see how that looks. Okay, so if you're paying attention, you'll see the mistake I made. I made the movement here on this wrist, but I didn't set the key frame. So let's just make sure that I sort that out. I should know better than this. Okay, so I'll put the grease pencil tool back on. I'm gonna put my mark back in. Then I'm gonna go to frame 26. And then I'm gonna turn that tool off. Put this roughly where I want it to be up and out a little bit. Press S this time. And then we'll just play it. Yeah, that's not bad. I think I can get down with that. Oh yeah, right. So let's now just kill the grease pencil tool again. We'll just get rid of that. Where'd they put it on frame one this time? Get rid of that and close the tool. And then what I want to do is get the offset sorted out. So let's just make sure that for this, you'll notice as well that there are a lot more controls on this because we've got two wrists to work with. So I'm gonna select both of them and just click once at the top, scroll down to the bottom and shift select. That'll show me all my curves. Press A to make sure they're all showing up and select. We're gonna do curves, pre-infinity cycle, curves, post-infinity cycle. All good. And then we're gonna do the offset, which is gonna be about the same as for the head. I might do it a couple of frames before or after. We'll see how it looks. So middle mouse button and shift. I'm gonna go to the right. One, two, three, four, five, six, seven, eight, nine, 10, 11, 12. Let's try 12 frames. Okay, we'll see how this offset looks. Not a fan of that. Let's make a little tweak. I'm just gonna put the offset back a little bit. So instead of it being that far full, we're gonna bring it back a little bit. So let's go one, two, three, four, five. We'll try that. Not really enjoying that. Either will go further. So we'll go one, two, three, four, five, one, two, three, four, five. Opposite on about frame 18. Let's see how that looks. Yeah, that'll do. Okay, so that is pretty much the idle cycle. So what I would recommend to you now is that you can go on and refine this a little bit more if you choose to. So if I wasn't trying to do this quick, I would probably put a little bit of movement on the fingers. I'd have some side-to-side movement and probably rotate things side-to-side as well, just so that it doesn't look too mechanical. Although one of the reasons we're doing this as a robot is because mechanical movement does at least make sense. So what we'll do next is we'll move on to the walk cycle and we'll bash out a basic walk cycle as well, and then we'll be getting well on our way to having a character that we can put into the engine. So make sure that you've saved this as idle cycle, file, save scene, and then into the next step, we can make our next cycle. I'll see you there. With the idle cycle complete and saved then, it's now time to move on to our walk cycle. So let's make a start on that. So I've saved this. So what I want to do now to make sure that I don't accidentally mess this up is open up a version of the clean rig again. So we'll do file, open scene. Let's find clean rig and open. I don't need to save that because it's already saved. So here is my clean rig then. What I want to do this time is set this up for a 24 frame cycle, and that means we're gonna go from one to 25 because we're starting at one, not zero. So we'll set this to 25, like so. Next thing I want to do is just move my views around a little bit and we'll see how this goes. So what I'm gonna do first of all is move my graph editor down to the bottom for this. You'll hopefully see why in a minute. There we go. And I want another perspective view. So I'm gonna go to panels and we're gonna tear off a copy of this. And this gives me another perspective view. And then I'm gonna move this to just sit down the side there and just resize that a little bit, like so. Then I'm gonna change this view to a side view. So I'm gonna go predefined bookmarks left side. Because it's a copy, it will also make this one a left side, but that's okay. We'll get to that. And then on this one we're gonna go to panels perspective and we'll just make a new one because I just overwrote my other perspective camera. And this now gives me two views. So this one I've got a little bit more freedom. I can rotate around. And this one gives me a good profile view so that I can see what I'm doing. What I'm also gonna need to do so that I can see when the feet are contacting the floor in this view is turn on the grid. And you can see that I now have this thick line here which is representing the floor. And I'll just go to show and we'll turn off cameras which removes a line there so that that doesn't get confusing for me. And with that then, I think we're ready to start animating. So the first thing I want to do is make sure that my human IK control is on this middle one here which is body part. And now making sure that the playhead is on frame one we're gonna set up the first pose of this walk cycle which is known as the contact pose. So for this I'm just gonna change to my channel box so that I can see that I've got the right values as I want them. And then we're gonna select the hips controller. And the first thing I want to do is just move the hips down a little bit so that we've got some bend in the knees. So let's just move this down. Yeah, that looks pretty good. So just got a little bit of a bend in the knees like that. And I think I'm just gonna round that down to 61. There we go. And then we're gonna work on the character's left foot. I always like to take the left foot forward first which is this one. And you can see that I use this view here to select that because it would be very difficult to select it here. And then with my rotate tool, we're gonna rotate this up to something like that. And I might change this in a minute once I get it in place, but something like that. And then we're just gonna move this foot up so that it's in line with the ground and we're also gonna move it forward. So just make sure that I'm getting this way. I want it to just bring this down so it's contacting the ground. I think I'm just gonna rotate that around a touch further. And yeah, I'm happy with that. I think I'm gonna round this to 23. And let's just make sure that I am happy with the rotation. Something like that. That looks quite nice. Now we're gonna move on to the right foot which I can select fairly easily from this view now because I've moved the left out of the way. And this one needs to be rotated down slightly to something like that. And then we're gonna bring it back in line with the ground. And this one needs to be moved back. I think that's just once rotating a little more. Bring that up a touch. Maybe not quite that much. Let's just put that back. Yeah, that's quite nice. And believe it or not, that's pretty much everything we need to do right now for the first pose, the contact pose. So what we'll do at this stage is set keyframes on everything that we have adjusted so far. So that's the hips controller. So I'll select that and then press S. I'm also gonna select this foot controller and press S and the other foot controller and press S. And that is the beginning of our first pose done, the contact pose. Next we need to move to frame four. So we're gonna make a change on this one. Basically every three frames. So frame four is the next stage that we need to go to. And this is known as the down pose. It's the lowest that the hips go in the whole cycle. So that's the body part that we'll start with. We'll select the hips controller and we need to move down a little bit. Let's see how far we wanna go. Yeah, I like that. So I think we'll round that to 59 because we're pretty close to that anyway. If I can, I like working in whole numbers. It's easy for me to make tweaks too. Okay, so we've done that. Next thing we want to do is I'm going to select this foot and I'm gonna rotate it back to flat which I believe is just this axis here. Yeah, so I've put that flat and then I want to get it back on the ground. So let's just bring it in a little bit so I've got room to do that and we'll get it back in contact with the ground. That looks pretty good. And then I just want to get this sort of into position where I think it looks good. Yeah, I like that. So we'll set that, we'll round that to 21 and you can see that that now is the foot's gone flat and it's also come back slightly as well. On this one, the back leg actually gets a little bit more extreme. So what we'll do is we're gonna rotate this round a little bit more. Do something like that which is gonna necessitate bringing it up so that it's not going through the floor and we're also gonna need to move it back as well. So let's see. Maybe not quite rotated that much. Let's just bring it down a little bit. Yeah, we'll give that a go I think. So I'm on about minus 32.5 there. Let's round that to minus 32 I think should be good. Okay, I think I'm happy with that. So let's key those. So we'll select the hips controller, press S, select this foot, press S, and select this foot and press S. And then we can see that already we're getting the beginnings of our walk cycle. So next we need to move to frame seven. This is what's known as the passing pose and it requires the hips to go back up a little bit. So let's just start with moving the hips up. I don't want them to be, it's gotta be sort of higher than where they started. Yeah, we'll go for that and we're gonna go for 62 I think. Cool. I'm gonna work on this foot first as I tend to do in each step. And I think I'm gonna want to move this foot back almost to where it started. What do we think? I'm gonna set this to one I think. Just a little bit before it started and obviously I need to get it back to being on the ground as well. So I just lifted it up by moving the hips up. So I'm happy with the position of that foot. Let's select the other foot. And on this one I am gonna rotate it forward or down rather a little bit. And this is gonna create a bit of a drag movement hopefully. And then I'm gonna move it forward to about there. And then I'm also gonna raise it up. And that's just gonna create the effect of this leg overlapping this one that's coming back. I don't wanna raise it too far off the ground because it can look a bit too stompy. Yeah, so I think I'm pretty happy with those positions as well. So let's key the hips and both feet because they're the only bits that we've made changes on so far. Good stuff. So that's our passing pose hopefully in place. Let's see how that's coming together. Yeah, not bad so far. So then we'll move to frame 10. This is known as the up pose. This is the pose where the hips are at the highest. And I think I'm just gonna type in 63 for this. I don't wanna take it too much higher but I do want it to be higher. So that's done that. We could possibly go a little bit higher. Maybe you want to experiment with that but I'm gonna stick with 63. And then the left foot needs to go back slightly. So it's not allowing me to push it all the way back yet. So what I'm gonna do is put a little bit of a rotate on the tail because this is starting to go back now and going to sort of a tip tail position. So we'll do that first and then I'm gonna start moving it back like this. Yeah, I don't wanna really go any further than that. So we'll call it minus 21. That's pretty nice. And then we'll get the other foot. So this is his right foot. And we'll move this forward. It's gonna come forward quite a lot I think. We need to get some of this drag off the foot and bring it almost flat. Just a little bit of drag on it like that. And I'm probably gonna bring it down a touch. This is gonna be kind of seeking the ground now. This is gonna be allowing him to put the foot down soon. So we'll go for that kind of height there. And hopefully that should do it. So let's now select all of these. So we'll key the hips, key both feet. And then we'll see what's going on there. Yeah, that's pretty nice. And now we're gonna move on to frame 13. And for this one, we're not going to put in the positions manually because this needs to be a symmetrical walk cycle. So what we actually need is for frame one and frame 13 to be identical except to switch the position of the feet. So we'll do it with the hips first because that's the most straightforward part to do this with. So we're gonna go to frame one and select the hips. And then we're gonna right click on frame one here. Go to copy. And that copies that position of the hips. And then we'll go to frame 13. Right click, paste, and then paste like that. And you'll see that the position of the hips changed and they are now going up and down between those keys. So that means that they are now gonna be in an identical position on frame one and 13. Now we want to do something similar with the feet but have them switch positions. And I'll show you how I'm gonna do this one. So I'm gonna go to frame one and I'll select the one that's at the back. Perfect, we're gonna copy. And then while I'm still on frame one, I'm gonna switch to the other foot because now I know that I've switched them. Then I'll move to frame 13, right click, paste, and paste. And that's put it back here, which is where we wanted it. But there is one problem. It's also moved it over to be in line with this foot. And that is normal, that's expected. What we need to do is just put that back on its own side. And what we're gonna do is just invert the X axis for that. So it's currently set to minus 10.448. Let's remove the minus. And that puts it back on its own side and we've reversed that foot position. But this is important. You can see that while these are dark red, this one here is light red, which means we need to press S again just to make sure that that stays on its own side. Otherwise it'll move back over. So we'll press S and that's that foot done. With that still selected them, I'm gonna go back to frame one. I'm gonna right click, copy. I'm gonna select the other foot. Go back to 13, where I'm gonna paste. There you go, you can see that that's now a crossover which we don't want it to do. So we'll invert the X axis. I put in a minus in there. And then we need to press S while we've still got that foot selected. And then you can see now we've done that. We don't have to set the keys because there is already a key on the hips and there's a key frame on that foot and a key frame on that foot. So now what that means is that we should, I'll just make this view active, be able to scrub through from one side to the next. So that's the first part of our walk cycle. So we've got one step, but we need to have two steps so that this will properly loop. So what we do now on the next set of poses is we just use the frames we've already got and we swap them over to the other feet and that makes it really easy. So that's frame 13 done. We're gonna move three frames on one, two, one, one, two, three. So frame 16 is gonna be what we do next. So let's start with the hips then. So we're gonna get frame four, right click, copy, go to frame 16 and paste. That's the hips done. And then back to frame four. And as I did previously, I'll set the back foot first. This is just, I do it in this order so that I know which ones I've already done. So select the back foot, copy, select the front foot, move to 16 and paste. And then we need to make sure that we invert translate X and then we press S. That's that foot done. Then we go back to four and we copy. We switch the feet, go to 16, paste and paste. And then we'll invert translate X again and press S. That's another pose done. And we'll repeat this now by reversing seven onto 19. So let's go to seven first, select the hips, copy. Then we're gonna go to 19 and paste. Back to seven, select whichever is the back foot and copy. Select the other foot, move to 19 and paste. There we go. And then invert the translate X and press S. Then we go back to seven. We copy this frame. We then select the other foot, go to 19 and paste. Lovely. And then we invert the translate X just as we've done previously and we press S. And then we've got kind of one more of these to do and then we can just copy all of frame one again. So let's go to 10 this time. And I'm just gonna select the back foot again. It doesn't matter, I could select this one but I always start with the back and move over. But in fact, what we'll do is we'll do the hips first. So we'll select the hips and we'll copy, move to 22 and paste. Lovely. Then we go back to 10, I'm gonna select the back foot and copy, select the front foot, move to 22 and paste. Nice. Invert X, don't forget to do that. Otherwise it'll look all weird. Press S and then back to frame 10 and we're going to copy this one. Select the other foot, go to 22, paste and invert. Don't forget to press S. At this stage I'm just gonna run it through and I'm gonna look at it, I'm gonna look at it in this view to make sure that I haven't forgotten to press S and that nothing crosses over. Yeah, so far so good, that looks wicked. Okay, so now what we need to do is just make sure that one and 25 are identical. So I'm gonna select the hips, that foot controller and that foot controller. So I've just copied them all or selected them all at once. Then I'm going to copy frame one, move to 25 and paste. And then we'll let that play through and see what's happening. So there will be a little bit of lag on 25 because that is one and 25, the same frame is playing twice. And I want that for now, but if at any point you want to preview it without that, the frames that we'll let's say export, we just take off that frame. So I'll just play 24 frames and it removes that little bit of lag. So let's just have a look in this view here. That's not bad. So as you'll no doubt notice, it is a little bit mechanical, but he's a robot and that works. So, so far so good, we've got the legs done. The next thing we're gonna do is just a little bit more work on the hips to make sure that the walk looks a little more natural. We're still gonna allow it to be mostly mechanical, but we'll add some rotation in the hips just to make things feel a little bit nicer. So I'll select the hips and we're gonna go to frame one. And what I'm really interested in for this one is the rotate. So you can see currently we have keys on the rotate, but nothing's happening. So I'm just visualizing this in my graph editor so that I can see what's happening. So the only thing that we should have changed at the moment is this translate Y. And whilst I'm in translate Y, we can see that there is this particular curve here doesn't make a lot of sense. So I'm gonna select it, and then I'm gonna select, I'm gonna shift select that, my tangents and just rotate that around. So I'm holding my middle mouse button to do this just so that flows a little more. Okay, so that sorts that one out. Now what I'm interested in I believe is rotate X. What we're gonna want to do is rotate the hips forward a little bit. So I'm just gonna do this and you can see that up here it shows that it's the rotate X that's moving. So that's the axis that I'm gonna be concentrating on. And we want to lean into whichever foot is making contact. So what we're gonna do then is on frame one, I'm just gonna want to rotate it towards the left foot. So if I just rotate, and I only want to do this slightly because I do want this to be subtle, I'm gonna rotate so you can see that to put that foot forward, it's going minus. So I'm gonna do I think on that one minus two. And then what I'll do is reverse that on frame 13. So I need to just press S on frame one first to make sure that that sticks. And then we're gonna go to 13 and we're gonna just put two on rotate X to reverse that and press S. And then we know that on 25, let's just bring 25 back, we need to have this identical to frame one so that's gonna be minus two and we'll press S. Okay, so you can see that our curve is there, but there are now a lot of curves that aren't really helping with this. They're just getting in the way. So I'm gonna select these three key frames here and just hit delete on my keyboard and same for these here. And you'll see that that now creates a bit more of a smooth curve, which is what we wanted. So now as we play the walk cycle, I'll do it in this view. You can see, mostly because it's illustrated in the arms, that he is swaying left and right a little bit, which helps to just add a little bit more magic to this cycle. What I also want to do is give him a little bit of side to side wiggle when he's got a foot planted and he's putting all his weight on it. And we're gonna do that on frame seven. This is where he's got plenty of weight on in this case, his left foot. And this one, I think is gonna be this axis here. And we can see that it's showing us lots of changes, but the only one we're really interested in is rotate Y for this particular one. Because that's the one that's moving the most. So on frame seven, what we need to do is make sure that that hip raises the one with the weight on it, like that. So what I'm gonna do is I only want this to be subtle again, so I'm rotate Y, which is the one that I know I want. Let's just put this straight again. I'm gonna set this to two and that'll just rotate it in slightly and we'll press S on there. And then we're gonna go to frame 19 and we're gonna put minus two on this one. And we'll press S again. And then you can see that these keyframes now need to be here. If we delete them, it will delete them off of the rotate Y as well. But you can see that's now going up and down and back up and that's creating a nice little loop as well. So let's play that and see how it looks. Have a look at it in this view. Just take that extra frame off. Yeah, that's not bad. That's looping fairly well. There's a little bit of a sharp change here. I think that's gonna be okay. The next thing we're gonna do then is we're going to kind of move up our model and we're going to sort of counter what's happening in the hips on the chest because as one leg move forward, so let's say the left leg moves forward, the right shoulder tends to move forward. But you can see that as this leg is forward here, it's the same shoulders forward. So we kind of need to counter that a little bit. Before I do that though, I'm just gonna go back to my human IK control and I'm gonna change to this, which is selection. So I'm no longer now moving on the kind of whole joint chain. It's just a particular part of it. And that's because one of the things of this rig is that even though it's really great to set up, there are some quirks to animating with it. And for this particular part, we need to just move here to make things work as expected. So let's just get ready for this. So we're gonna make sure that we're on frame one and we're not gonna animate on one of the controls this time. We're gonna animate on this actual joint. So it's called RobControlSpine is the name of it. And you can see that it selects kind of everything above the hips. And what I'm gonna do is just see which axis I'm rotating on. So it's the x-axis, which is good. And I'm just gonna need to bring this forward a little bit to counteract what's happening below. So I'm probably gonna rotate it forward by about five, I think it looks good. Yeah. So then I'm just gonna press S on that. Go to frame 13 and I'm gonna invert that. So it's gonna be minus five. You see that that has now inverted, so press S. And then on frame 25, let's bring 25 back. I'll go back to five and press S. And then we'll just see what that's looking like. Undo that silly shame. See what that's looking like in this view. Yeah. And that's a lot better because it's just counteracting what the legs are doing. And it makes everything look like there's more weight going on in this walk cycle. So that's pretty good. Now it's time to make him look less like he's walking on a tightrope. So I'll take his arms from being in the T position and get them swinging as they should. So let's just move back to frame one for this. And for this one, I'm gonna be working on this arm that's closest to us first, which is the right arm. And I'm not gonna be using this controller because we've changed the method. If we try and rotate it, it won't work on the controller anyway. So we are gonna be working on that joint there. And it's called Rob control right arm. And you can see this one will let us rotate it. Before we do that though, it's gonna be easier to just get the hands kind of in the position that we want them in before we start swinging them around. And for that, we do actually want to go back to body part control in the human eye case. Let's just put that on. And then what I'm gonna do is try and make a fist. So if I get this end controller here, and if we just rotate this round a couple of times, you'll see that it bends in the two finger sections. I'm gonna get them bent nicely around. That's kind of nice. And then we've got to do the same with the thumb, but first of all, we just kind of need to bring it down, which is that axis there. And then we can bend it in a little bit. It doesn't matter if they overlap a little bit. That's fine. If we move for a fist on that side, let's repeat that over here. Okay, so we've got our fists in place. That'll just make it look kind of nice. And then we're going to go back to human eye case. We'll just go back to selection. And then we can start to do what we need to do. So as I said, I'm gonna be working on the character's right arm. Okay, so we're gonna rotate this down. So what we need to do first of all, I just want to make sure that I can see my channel box here. And I'm gonna rotate this. I don't want this to go too far, something like that. And then we're gonna need to rotate this forward. It's the left leg forward, so it will mean that the right arm needs to go forward. Something like this. But what we also need to do is kind of just curl it in a little bit as well. So that's the decent starting point. And what we'll do then is just on that controller, we're gonna press S. And then on frame 13, you can see now that this foot is back, this arm, or this foot is forward, this arm needs to go back. So what we'll do is we'll move the arm back. And then, so if we move it about like that, we're also gonna need to move it in a little bit. And we're gonna need to do that. And you're gonna see a problem that I'm gonna have with this. So you can see that's kind of where it needs to be. That makes sense. And we'll press S. And then what we'll do is we'll just take frame one, we'll copy that, and we'll paste. So that's gonna give us our loop. So if we just start by looking at this view here, let's play it, that's not too bad. But if we look in this view, the arm really kicks out as he's swinging it. And this is another one of those quirks of this rig. The way that the arm setup is not quite ideal for the arm swing. And so it can take a lot of trial and error to get this to behave itself. So I'm gonna show you what I've done. And you can just use similar values to how I put it together. So it took a little bit of trial and error, but I'm just gonna put in the values that I know that I like for this. So rotate X, I'm gonna put in minus 30. So I've moved to frame one for this. So we'll do minus 30 there. For Y, we're gonna put in 70. And for Z, we're gonna go minus 55. And we'll set that. And then we're gonna copy it to frame 25. Like so. Frame 13, what I want on this one is 75. See, that doesn't change much. 70, this won't change much either. And 85. It's changed very little from where I had it, that this will make a difference. And then if we play this again, you'll see that the swing out is still there. So what we're gonna need are some frames to sort of correct this. I call them correction frames. We're gonna need one on seven and one on 19. So I'll go to frame seven first. And then the values that I like for this correction are 35 on rotate X, 70 on rotate Y, and 20 on rotate Z. Like that. You see, that's just brought that in a little bit and then we'll press S. And then we'll move to frame 19 and put in the values that I like for this one, which are going to be 30 on the X axis. On the Y axis, we're gonna have 75. That just brings it in a little bit. And the Z axis is going to be 20. And then we'll set that. And at this stage, if we play it, you'll see that it does kick out a little bit, but it's more that the arm goes behind that looks quite good. And once we put the bend in the elbow of the arm, it's also gonna look pretty good. So what we'll do now is we'll actually set the animation up on the elbow to sort of finish this off and make it look quite nice. So we'll stop that play and go to frame one. And I'm just gonna select the elbow joint there. On frame one, I'm gonna set the Z rotation, which is this one. And I want that to be so that it looks kind of like that. Yeah, that looks good. You can see I've just created a bit of a bend in the arm there. So we'll set that on frame one and we'll also set that on 25 because they need to be identical. On frame 13, which is when the arm's back, we're gonna set the Z rotation to almost back to zero really. So let's just do that. I don't wanna go all the way back though. That's pretty nice like that. So it's around about three and a half. So if we have a look at that again, so I'll have a look at it in this view here, you can see that that arm bending forward adds a lot to this arm swing. If we have a look at it in this view, it also now helps the arm not to look like it's swinging out so much and makes it look quite natural, which is what I'm looking for. There is one more change that I want to make to this arm swing though, just to add a little bit more fluidity to it. So with the elbow joint selected, we're gonna put an offset on it. So let's just get all the rotate values and we'll select them and we're gonna do curves pre-infinity cycle, curves post-infinity cycle. You can see that that now keeps that animation going forever. I'll select them all and then holding shift and my middle mouse button, I'm just gonna move them along five frames. So there's one, two, three, four, five. And you can see that has now moved along. So if we now check that out in this view here, yeah, it just makes the arm look a little bit more casual. Let's just take off the extra frame to remove the bit of lag in there. Yeah, so that's not bad at all. That's the right arm complete. And what we do for the left arm is we basically just repeat that that we're reversing the frames. Because we know what the values are that we want, we'll just type these in and make it nice and quick. So let's go to frame one, select the shoulder. So the values that we know we want for this are 75, 70 and 85 and we'll set that. And we'll also set it on frame 25, beautiful. Then we'll move to frame 13 and make our change. And that needs to be minus 30, 70 and minus 55. And that kind of brings that forward. So we'll then set that on 13. So we're happy with that. Then we need to get the elbow. Oh, no, no, I've forgotten a step. We need to go back, we need to go back and we need to put the corrections in. So on frame seven, we need to have the correction of 30, 75 and 20 and we'll set that. And then we'll go to 19 and add our other correction, which in this case is 35, 70 and 20 and we'll set that. And that just stops things from going too wild. Now we can move on to our elbow and in this case, we're gonna have on frame one, our Z rotate was about 3.5 on the other arm, wasn't it? So we'll set that and just put a slight bend in the elbow and then we'll set it on frame one and frame 25. And then let's just check what value we had on the other arm on frame, well, it was frame six now, wasn't it? So it was basically 48. So that's what we'll set this one to. So on frame 13, we're gonna set it to 48. Awesome, we're gonna press S on the keyboard to set that and we're gonna get an offset going on as well. So let's just press A to view all our curves, make sure that they're all showing up, select them all. Then it's gonna be curves, pre-infinity cycle curves, post-infinity cycle. Yep, that's working. And then we're gonna offset these by five frames. One, two, three, four, five, brilliant. And then we're gonna take off that extra frame so we can preview and let's press play. So that's not bad at all. How's it looking in this view? Pretty walky. I like that. The last step that we're gonna do then is to just add a little bit of weight to the head and then we can call this walk cycle complete. And I'm gonna do that on this joint here which you will see can control this angle on the head. So we're gonna go here. So on frame one then, what we're gonna do is just rotate this up slightly and it does need to be just slightly, something like that. So I've gone minus 0.335 on that and we're gonna set that on one and 13 and 25. Set. And then on frame seven, this is when we've kind of finished putting the weight down, we're gonna move the head down a little bit. And this we're putting our offset in by default here but we're gonna move this forward. Again, not too much. So I've gone about 2.3, so set. And then on frame 19 we'll do the same. I'm just gonna type this in 2.3 and set. And then what we'll do is just see how that looks in this view here. Let's just take off that extra frame. Yeah, and that just adds a little bit of a bob to the head makes it look nice. So let's just have one last preview of this before we wrap up. So I'm just gonna turn off these views here. Take a look at it in the front view. Nice. So keep in mind that there is a lot more that we could do to this. We could have had a lot more sway to the hips. We could have if we wanted to sort of counter-animated the head to make it hold a bit more straight when he's walking but I quite like that it sways. I think it looks charming. Some people don't like that and you might choose to take that out. You can continue to work on this as much as you want but for my purposes and for what I want to do I'm gonna consider this done. So let's just stop that preview of them. And we're gonna go to file, save scene as and I'm gonna call this one walk cycle. So let's just change the name. So 13 walk cycle. And when it becomes time to export this from Maya and import it into Unreal Engine we'll be coming back into this file just to make sure that we export all of the frames that we need. So we're not 100% done with this yet but we are done with it for now. What that means is that in the next step we are going to be attacking the run cycle. So I look forward to seeing you for that. Well done for getting the walk cycle complete. We are now going to put a run cycle together. So this is gonna be the last of our complicated cycles that we need to do for this character. So let's do what we've done so far and we're going to just open our clean rig again. So let's go to open scene and what did I call it clean rig? There we go. And now because of the way this is set up I just need to set my cameras up again so I'll do that quickly. So that's the camera set up and now this one's going to be about a 22 frame cycle. So what we'll do for that is we'll put in up until frame 23 so that we've got room to loop this and we'll take the final frame off when we're done and we'll get straight into it. So we're going to go to frame one which is where we are and let's just go to the channel box so we can see what values we have and we'll select the hips and the first thing that we'll do as we normally do is just take the hips down a little bit. Yeah, that was pretty good. And we also want to rotate him forward a little bit so that he looks like he's got some forward momentum and we'll just rotate him forward and what looks good about that and that will then necessitate just selecting the head controller and bringing that back so that he's still looking forward. He shouldn't be looking at the ground he should be looking ahead to where he's running. So that looks quite awkward so far so now let's get the legs sorted. So we'll get the left leg first and we want this one to be the one that goes forward. So let's just bring it forward a little bit and a little bit and think about where we want this to be. So we're going to want it to be slightly higher than this. This is called the straight leg pose and actually both feet are above the ground. So I'm going to go for something like that and that should mean that I can bring it further out and we also want to just rotate this around. That looks pretty nice. And then we're going to get the right leg and this one needs to go back. So let's bring this one up a little bit. We're going to take this one up quite high to get started I think, bring it back as well and let's just work out what the rotation is going to be as well. Yes, something like that I think so we want this to be quite bent around. We're going to get like the floppy effect on the foot so that looks pretty good. And then we'll move that back further, something like that. We're just going to bring that up a little bit higher. Yeah, that's quite good. So that kind of creates our first position on the leg. So you can see that this leg here is kind of going out and forward. Just double check the position of that to see if I'm happy with it. I'm just going to bring it slightly further forward just to get the extended leg. Yeah. Okay, and that's going to do it for frame one on the leg. So we need to set the hips and both feet controllers and then we'll just press S on the keyboard to put that first frame in place. Now we're going to move along and the kind of center at the end of this first step is going to be frame 12, but we're going to just mess with the spacing a little bit so that we get a sense of hanging in the air and the feet moving quickly and hopefully this will become clear as we put it together. But what that means is we're just going to move two frames forward for this next pose and that's going to be to frame three and this is going to be our down pose. And because it's the down pose, the hips are going to move down a little bit. Only ever so slightly, something like that, I think. And I'm just going to set that key on there now and then we'll get the left leg and this is going to now be flat on the ground. So we're going to take the rotate off of the Z axis. Make sure that's going to be flat and then we need to work out where we want this to be. I'm also just going to turn off cameras here so it's clear that this is the ground, this line here. That's what we're aiming for. So let's just bring this down to about there. Just going to bring this back a little bit more. I like that, yeah. And just make sure that I'm happy with the position of this on the ground. Yeah, that's pretty nice. And then we're just going to do some work on the right leg as well. So we'll get that selected. Now let's just move this into place. So I'm going to actually make this a little bit higher. And position kind of like that. We're just bringing this forward. The down pose is also kind of a cross between the down pose and a passing pose in a walk cycle. So you can see that this leg's starting to come forward as well. And we're just going to move the rotation on this foot a little bit so that it's not quite as harsh now. Yeah, that was good. Okay, so that position feels pretty nice. Let's set the keys on both feet controllers and on the hips as well. And now, so we've done frame one, frame three. We're now going to do frame five and this is going to keep the movements quite snappy. And then we're going to start spacing them out a little bit going after this. But for frame five, this is what we call the push pose. And we also need the hips to be moved up a little for this one. So let's make sure the hips are selected and we're going to move this up. Yeah, that was good. And on this one, the left leg moves back quite a lot. I think you can see that's now struggling to contact the ground. So we're going to have to rotate the foot around as well to make this happen. So let's just get that set up. Let's see. That looks pretty good. And that means that we can then move this up. Yeah, that looks nice. And now we can move this back. Yeah, to about there, I think. So I'm happy with that, but the left leg being back means that the right leg now needs to come forward. So let's bring this forward to about there. And I also want to move it down. That's far too high. That was good. And then obviously we need to rotate this around as well because that doesn't look right. So let's just bring that to about there. We still want a little bit of drag on this. We're not going to make it perfectly straight. Something like that looks pretty good. So I'm happy with that as a position. So that's the push pose done. So let's make sure that we set keys on everything. So the hips and both feet. And we'll press S on that. And now we're going to move, instead of going to frame seven, we need to now start to slow this down. This is where we're going to begin to like hang in the air. So we're going to move to frame eight. And on frame eight, we're going to put our up pose. So now the hips need to go up to their highest point. So let's select those. And we're going to go a fair bit higher about that, I think. And if you want to make sure that yours looks like mine, you can always copy the properties I'm using here in the channel box. So that's my hips in place. We're then going to get the left foot. I like to do the left foot first. And this is going to go back a little bit and maybe up a bit too. Let's move it up first. Yeah, that's quite nice. And then let's move it back a bit. Yep. And we're going to have to rotate this as well, just to make it make sense. Yeah, that's cool. So that's now behind the character. So let's get the right leg. And this is obviously going to need to come forward a little bit now. So let's move it forward first, if it'll let me. No, I need to move it up a bit as well. Yeah, that's better. Let's just keep moving this out. Yeah, that was pretty nice. And this now does need to be rotated again. So let's get that to where we want it to be. Yeah, that's pretty nice. So you can see is now leaping quite high up in the air. And that's just come from the push post. It's pushed himself up into the air. And now it's kind of swapping his stride over. This is all looking pretty good. So let's get the hips and both feet controllers and we'll set a key there. And that basically does it for the positions that we need. What we need to do now is frame 12 needs to basically be identical to frame one, but we need to swap the leg positions. So let's start setting that up then. So we'll go to frame one first of all and we'll select our hips. These are just going to be identical. So we're going to copy that, move to frame 12 and paste. Lovely. And then we need to copy the feet but swap them over. So just so I can kind of organize this in my mind, I always go for the back foot first and then I copy it. And then I'll select the other foot, go to the frame that I want to be on and then paste. And you can see that that has worked apart from the fact that as with the walk cycle, the foot has swapped over. So we need to just invert this x-axis, take away the minus, press enter and then we'll press S just to make sure that the key frame is set and the foot will stay there. And then we need to do the same for the foot. So we'll go to frame one, we're going to copy. Now we're going to select this foot, go to frame 12, paste. And then invert the x-axis and set the key frame. Okay, so you can see that these first two frames are quite close together. And then it got a little bit slower and then slower again. And that makes it kind of hang in the air. And now we're going to repeat the same kind of timing and spacing. So that's frame 12 done, I'm happy with that. So the next one is going to be two frames on frame 14. And we'll be copying from frame three to get that. So let's go to three and get the hips. We'll copy that. Then we're going to go to frame 14 and we're going to paste. So the hips are fine. And then back to frame three and now we need to start swapping the legs over. So let's get that leg there and copy. Select the other leg, move to 14 and paste. And invert the x-axis and set. Back to frame three, then we're going to copy. Select the other foot, go to 14, paste and paste. And then let's make the change to the x-axis and set. Okay, so that's coming together. Now we need to do another two frames on. So we'll be on frame 16 and we'll be copying from frame five to make that happen. So let's go to frame five first. Select whichever foot is at the back and we'll copy it. Select the front foot, go to frame 16 and paste. And then do our little invertee trick and set. Back to frame five, copy. Select the other foot, go to 16 and paste. Make our little change here and set. So far so good. We can see that now we've got one more frame to do which is frame eight and that's gonna be three frames on. So we're going up to 19 now. So let's go to frame eight. I'm gonna select the back foot first and copy. Go to 19, paste and paste. And then invert the translate x and set. Go back to frame eight, copy, get the other foot, go to 19 and paste and invert. I've done something wrong there. So let's just go back and see if we can work this out. So back to frame eight. So we'll try and copy this front foot I think. Then we'll select the other foot, go to 19 and paste. Okay, let's invert this and set. And I don't think I remember to set the key frame here. So let's just invert this one again and set. Okay, that does look a little bit tired. Yeah, and I forgot to do the hips on this one as well. So let's go back and get the hips. Copy and put this on 19, paste and paste. And I also forgot to do it on 16 as well. I'm getting forgetful. Been doing this for too long. Copy and go to 16. Is that right? I think it's right and paste. Yeah. Okay, so let's see if this has come in together. Let's have a little look in this view. Yeah, nothing's broken yet. Okay, so the final bit of work that we need to do is just to get everything to loop on frame 23. So I can just select all three controllers that we've animated on so far, go to frame one and copy, then go to 23 and paste. And now to see whether or not this looks okay, I'm gonna take the last frame off. So I'm just showing frames one to 22. We'll hit play. And that's not bad. So you can see that he's going up and down. The feet are going much faster when they contact the ground and then he kind of gets the effect of hanging in the air, which looks pretty cool. So that's the first part of our run done. And that's the legs sorted, the lower body portion. As with all our animations, we're trying to do this as quick as possible. This is very much just to block out and we're allowing it to look quite robotic. What we should have done really there is have some sway in the hips and all kind of stuff going on. But this is enough just to get us to do what we need to do and it'll look fine when we're done. So our next step is to get a little bit of a sway going on with the shoulders to support the swinging of the arms. And the controller that we want for that one is there's one just here on the spine. It's very small, but you can see it's just there. It's called chest origin effector on this one. And if I've just put my rotate tool on, you should be able to say that this is perfect for sort of rotating the chest and everything above it. You just don't do that. And what we're gonna do is just rotate this and try and put some holds in as well. And hopefully they come clear what I mean by that. So we've got on this one, the left leg forward. So we're gonna be bringing the right shoulder forward because we kind of do it in opposites. So on frame one, we're gonna rotate by about that much. So I'm close to eight on there, you can see. And then I'll just press S there. And then we're gonna put the next one on frame nine and we're gonna rotate the other way. So because I went for about eight on X there, we're gonna go for about minus eight here just to try and keep things fairly symmetrical. That'll do. And then what we're gonna do is copy this and paste it onto frame 12. And that's because we want his shoulder to stay in the same place for about those three frames. And that's kind of aligning it up with the hang in the air that we did on the legs as well. So it's kind of holding that. And now what we'll do is just copy frame one and we're gonna put that on frame 19. So we'll paste it there and that'll bring it back. And we're also gonna put it on frame 23. Paste. And now if we just play this again, you can see that we've got our run going on and we've also got a bit of a sway in the shoulders as well which is gonna support the swinging arms. So far so good, I think. We can stop that. Back to frame one. So the next thing we're gonna do is work on the shoulders and the elbows. But before we do that, because it's kind of easier when they're still up by the side, we're just gonna turn the hands into little fists. So let's just select this end controller here with the rotate tool on. You might just have to rotate this around a couple of times just to get that to make a bit of a fist. And then we'll get the old thumb controller. Rotate this around. Probably rotate that around a little bit as well. And then bring it in. So they can clip through a little bit because it's gonna be moving. The player won't be able to tell. And then we're gonna do the same over here. And I could probably just copy and paste the values from the other hand, but I don't wanna do that. So there's that part done. Get the thumb controller, not that one, not yet. We'll do that one. Bring that around a bit and then bend the thumb in like that. So that's gonna be our two fists created. At this stage, I suppose if you wanted to, you could turn this, put the arms back and turn it into a bit of a Naruto run. I'm not gonna do that. I'm gonna have the swinging arms. But it's an option if that's what you choose to go for. Okay, so we'll work on the shoulder closest to us first because it's easy to see in this view. And we'll get the right shoulder controlling. See, I've accidentally selected two there. So I'll just be a bit more careful with my selection. I only want one. And then we need to kind of get this one as well positioned as we can because everything's gonna be built off of what we do on this first frame. So what we'll do first is just rotate this arm down. So bring it down to about there. And then just so that I can help myself to line this up. And I'm gonna put this back in a minute, but I'm gonna put the arm into kind of the position it will be in. And that's gonna help me to line up the shoulder joint to put this where I think it should be. Okay, so I think that kind of position there works for me. So you can see that the arm kind of is mostly straight down. It kicks out a little bit. But getting this position right is really important. So you can see the values that I've ended up with there. And that's pretty much where I want that to be. Then what I'm gonna do is just for now, because I'm gonna come back to this later anyway. I'm just gonna straighten the arm out again just by zeroing out those properties there. That's good. And then because I'm happy with the position, or I think I'm happy with the position of the shoulder on frame one, I'm just gonna press S to set a key on that value. So now similar to what we did on the chest controller, we're gonna use the same frames really. So we're gonna now move to frame nine. And on this frame, we need to rotate the arm back really. So we're just gonna take it back like that. It's okay in this case for the arm to just kick out a little bit. I'm gonna use different values to help us to get to that. So I think the position I want is about that. So you can see I've just kind of tilted the wrist out a little bit. The arm does kick out. And it swung quite a long way back. So in that position, I'm just gonna press S on my keyboard. And then to get that hold, I'm also going to set that on frame 12, like so. And then for frames 20 and 23, just like we did with the chest, we're gonna get frame one and copy that onto frame 20. So we'll paste it there. And we'll paste it onto 23 as well. And then we'll just have a little look at how that's coming together. So quite robotic at the moment. And I think once we get a bit of swing in the elbow, that's gonna come together. Let's just see how it looks here. Yeah, that's not a bad start. So now we need to move on to the elbow. So for this one, we're gonna select the elbow joint just there. I'm gonna go back to frame one and then we need to get this rotation dialed in. Now the elbow is basically a hinge joint. So we only really need to rotate it on this one axis here. That one should be fine. So it's rotate Z for me. So I rotate it on frame one, round about to, about there looks good. And then we're gonna have to set that key. And then we're gonna go to frame nine and let's rotate this again, but we probably don't need it as far this time. Yeah, that was pretty good. Let's go to frame 12. So I don't want this in exactly the same place. I don't think, but probably close. Yeah, that was cool. We'll set that. Now we need to go to frame 20. And let's rotate this quite a bit forward. Yeah, that's quite nice. And then of course, frame 23 needs to be copied from one so that they're identical. Paste. Okay, let's see how this is now looking. Yeah, that's pretty good. That will work, I think. So we've now got the top part of our little robot guy going on his right arm. So far, so good. What we need to do now is get the values for the other arm and we're just gonna copy those from here. So frame one, we're actually gonna copy from frame 12. So of this shoulder, we'll go to frame 12 and we'll copy that value. And then we'll select our other shoulder controller, go to frame one and paste. You can see that now puts it back. And what's cool about this is it also copies the elbow position for us, meaning that we don't have to put it in this time. So that's frame one. Now let's go back to the right shoulder. So we've just done that one, haven't we? So the next one's gonna be frame 20. So we'll copy that, and then go back to our shoulder and 20 is gonna be pasted on to frame nine in this case. So let's paste that on there. You can see that that has gone forward. And then what we'll do is go back to the other shoulder again. And this time, so we've just done 20. So now we'll do 23. Copy that. Get the shoulder. Oh, I missed. Go to frame 12 and then we need to paste. Working out so far, so good. So now I think we're gonna be copying from frame nine on the right shoulder. So we'll copy that. Go to this arm here. And then we're gonna go to frame 20. And hopefully we're gonna paste this. That looks good. And then back to the right arm, hopefully for one final time, go to frame 12 and copy. Then get our other shoulder. Move to 23 and paste. Hey, okay. So now let's just take off that extra looping frame and we'll hit play and see what we got. Okay, so we can see we've got arms swinging backwards and forwards. They're doing their thing. We've got the legs going. No legs are crossing over. Let's check it in this view here. You know what? That's not bad. So again, there's lots that we could do to just smooth this out. We could put a little more overlap in the arms. We could also add some overlapping animation to the wrists as well. But for now, I think that's gonna do the job. We'll move on to the head, I think. So let's have a go at sorting this head animation out then. So I'm gonna need to select the head controller and I'm gonna go into wireframe view here so that I can see when it's not straight. And I'm also gonna change this view here to a front orthographic view because if I just press four here as well, you can see that that's basically not straight. I think I'm gonna turn the grid on just to give me an idea of when things are straight as well. So we know that on frame one, things aren't gonna be lined up and we can see that. So we're gonna use this axis here to just sort of bring the head back straight. And I'm also going to bring it straight in this view as well. And that looks pretty good. So we'll set that. And now we're gonna keep the same spacing as with the chest because that's where things are gonna change. So it's frame nine where this is most extreme so we'll try and put this back. So I'm just gonna now rotate that around to get that straight. And we're gonna need to rotate the head to get this back straight as well. Nice. And then if we just keep that the same frame 12, that should work out nicely. You can see that that now loses that as we go further on. So we'll copy the values that we've got on frame one and we'll move to frame 20 and we'll paste those in. And that should straighten it out and we'll paste those in again at 23. And then we'll check for any abnormalities. And as it's playing, that looks fairly clean. So let's just press six in that view. Yeah, not bad. And we'll just go back to our perspective view and see what we think to that. That's okay, let's take off the extra frame. Not bad, not bad. So we'll just try and get the head now to stay the same sort of height. So we can see here it's basically looking up but here it's not. So let's just try and correct that. Doesn't matter if there's a little bit of variation in this so long as there's not too much. Let's see how that looks. Yeah, that's okay. So I think that's gonna do it for most of this animation. What we need to do is just select all the controllers that we put animation on and do pre and post infinity just in case we decide to make any changes to it. So that's gonna be that controller, that controller, that controller. We also did the chest. We did the shoulders and we did the head. So for all these curves, and I'm just gonna select in here, absolutely everything. We're gonna do curves, pre infinity cycle and curves, post infinity cycle. I'm just gonna select the elbows separately. Let's just deselect everything first. So elbow and other elbow. And then we'll set everything that makes part of this. I'm gonna do curves, pre infinity cycle, curves, post infinity cycle. Just check that that hasn't broken anything. Yeah, I think that looks okay. That's gonna do the job for us. Let's just give this one final look. So we'll just turn off the controllers here, press play, take a look at this from behind, which is where the play is mostly gonna see it, I would imagine. Yeah, I think that works. So again, we could make this a little bit smoother, but for what we're trying to achieve to just get this character put together pretty quickly, I think that looks wicked. So what we need to do now is save our work. So file save scene as, and I've been numbering these. So this is gonna be 14, run cycle, and then we'll hit save. And that means that we're now almost done with the animation section of this course. All we need to do now is create a jump and we'll be ready to start setting this little chap up in a real engine. So I'll see you in the next step, where we'll make him jump. Okay, so as promised then, we're gonna finish the animation section of the exercise we're doing here. And you'll be probably relieved to hear that this is just a one frame animation. We're just gonna keep the jump really, really simple. Let's open our clean rig and get this set up. Our jump pose is gonna be heavily inspired by Mega Man. So we're gonna open our clean rig. Here it is. And we don't need to worry too much about the view on this one. We just need to build our pose. So let's just give him some fists again. Mega Man has fists when he jumps. There we go. So we've got a couple of fists. Now Mega Man when he falls tends to be rotated back slightly. And we're gonna do that for the top half of the body like that. And then we're gonna bring the head back. And I want him to look down slightly here so that he's kind of looking for where he's gonna fall, or land rather. And then the arms tend to go up in the air. So let's bring the arms up. And the kind of the palms look like they're facing forward. So we'll do that. So that looks pretty good for that arm. And then we'll do this one here. Let's just on this one. Let's rotate this from the elbow. See how that looks. And then, oh, hello. That's not right. That's better. I think we'll bring one of the arms forward. I don't want this to be too symmetrical. And then we'll get his leg controller. I am actually, I've got some reference images of the Mega Man jump open while I'm doing this in case you're wondering. You might find it useful to do something similar. So let's just rotate that like that. And we'll just kind of rotate the leg out a little bit. Oh, that's the knee. Do this as well. And then the other foot. We do want a bit of a bend on it. Have I got the right controller there? I haven't. It's this one I wanted. Like that. And we're just gonna rotate around so that it looks like the foot's trying to find the ground. I think I'm gonna bring both feet back a little bit. And I think that will pretty much do it for that pose. It'll get across the idea that he's jumping. And that's really it for this one. So we are just going to select everything. We'll set a key on frame one to make sure that they stay there. And that's it. So let's save this one. File, save scene as, and this one's gonna be, where were we up to? 14. Although they've gone a bit weird. I'll put that one back in a bit. I didn't name it properly. I didn't leave the MB in. So this one's gonna be 15 jump and save. And that's really it for the jump animation. We could make this more complicated. We could have him so that he kind of wobbles in the air and we could add a land animation. But if I kept adding things to this, we'd never get the exercise finished. So that will do it. In the next step then, we will be looking at how you go about exporting all of these animations properly. And then we can get into Unreal Engine and begin importing and putting our character together. So I'll see you in the next part for some exciting exporting action. With the animation complete then, we can now move on to exporting everything we've done so far to make it ready to be imported into Unreal Engine 4. The first thing we need to do is export the character itself without any animations on it. So I'm gonna open a scene for that. And you just need to get one that is your completed character without any animation. So for me, it's this version 11 that I've got. So I'll open that. And if I move through the time slider, you can say no animation on there whatsoever. Now, this really should just be a case of exporting it, but there is one thing that I want to correct and I need to do it on this version. I don't need to add any others, just this one. And I'll try and show you what it is, there you go. As the light catches his face, you can see that the screen's not flat. It's got this kind of crease here that's not particularly nice to look at. So we're just gonna fix that before we export. So, let's just open the channel box. We're gonna take the geometry out of reference and put this into face mode, like so. Then I'm just gonna select the four faces in the middle. Just take that glare off. And then I'm just gonna press shift and full stop and that will just select kind of all the screen like that. And then I'm just gonna do mesh display and harden edge. There we go. So now if I go back into object mode and move that around, you can see that that now looks flat. It's just nicer to look at. Okay, then let's export this guy. So file, export, all is what we need. And I'm gonna create a new folder for all these files that I'm gonna create. So I'm gonna come out of my scenes folder for now. And I'm just gonna come up to this kind of top level here. Third person character tutorial is what I'm calling it. I'll create a new folder there. And I'm just gonna call this exported. And then we'll call this one Rob mesh because this is the kind of mesh that we want. And then just make sure that you've got the following settings on this one. So smoothing groups, yeah, smooth mesh, yeah. There's nothing else that we need there. And for this one, we don't need animation turned on. So we can just click on export. You will get this warning, but we can ignore it. There's nothing there that we need to do with it. So we'll close that. Okay, that's the first one exported. Now we need to do one of the animations. So we're just gonna open the scene and we'll do them in the order that we animated them. So we'll start with the idle. So there we go. We'll open this up. I will save this because I made a change to the face. And here we have the idle. So let's just have a quick look at that. Cool. I just wanna see, remind myself where this starts and ends. Okay, so it's not a big deal, but you can see I've got a frame set on 51, which matches one. So it means we're only gonna export as far as frame 50. So that's just, not like that. Frame 50, there we go. That's the cycle that I want to export. So we're gonna do file, export all again. You can see that it has remembered where I want to put it, which is very helpful. We're gonna call this one rob underscore idle. And this time, I think you have to include the geometry, so I'm not gonna turn that off. But we do need to export the animation. So we'll tick the box there. And then it's this bit here that we really need to worry about. So we do want to bake the animation. We're gonna set the start and end frames. So one and 50 is what we decided on. And we are gonna resample everything. And that will do it. We can now click on export for this one. Lovely. And we repeat this for the next two. So file, open scene. And now we're gonna do the walk cycle. Again, I just want to double check where this starts and finishes to make sure that I'm not duplicating any frames. So let's just turn a controller on to see. Yep, so there's a frame on 25, which means one to 24 is probably fine. So we're gonna do file, export all. This one's gonna be rob underscore walk. Everything has been remembered from the last time we set this up. So bake animations on, we just need to set the end frame. So frame one to frame 24. And then export. Lovely. So we'll close that. And then we're gonna do the run cycle next. So open scene, let's open the run. Yeah, that's working fine. So what we need to do now is just double check where I've got the frames looping. Yeah, it went up to 23. So one to 22 is what I want. File, export all. Rob underscore run. Frames one to 22. And then export. Okay, so now we're gonna do the jump. This is gonna be slightly different. Let's get it opened up first. So there's the jump. So we have set one key frame on this, but I just tested this to see what would work. It won't let us do this if we export just one frame. We need to do two. Otherwise it doesn't see it as an animation take, which is what we need. So let's set that up. So file, export all. This is gonna be Rob. All right, this is actually a fall, so we'll call it fall. And we can just use it as the jump. So Rob fall, and we're gonna do frames one to two. And that'll at least give us an animation take. And then we export. And that's it. That's everything that we need. What I'm gonna do is just make one more change to the way that I have got all my file set up so that when I'm in Unreal Engine, I only need to be looking in one folder. So here's the folder that I've got set up. Here's all the animations that I've just exported. What I want to do is just go into my robot character. I'm gonna go into source images and just take this head texture. So I'm just gonna do a copy of this. And we're just gonna drop this in exported because we're gonna need that texture as well. So that now puts everything we need for this step in the same folder. And that will do it for this video. In the next one, we're going to create a new Unreal Engine 4 project and set about getting things imported. So I'll see you there for that. Now that we have got everything exported from Maya, we're now done with Maya and it's time to get into Unreal Engine. So you can see that I have already taken the liberty of opening Unreal Engine so you don't have to wait for me to do that. And we're at the select or create new project screen. For this, we're gonna create a new project. So we're gonna go down here to new project categories and we're gonna do games. And then we'll click on next. And as we're setting up a third person character, we are gonna use the third person template because we don't wanna set up absolutely everything from scratch, such as the controls. We just wanna be setting up the character. So third person is perfect for this. And then we're gonna leave absolutely everything else the same. What I'm gonna do though is just save this to a location that I can share with you lot quite easily. So I've chosen the third person character tutorial folder which is the one that I'm making available to you if you follow the link in the video description and it's called Rob. So you'll have access to any blueprints and things that I create as well should you want to download them. Okay, let's create a project. Okay, that's the project set up then. If I hit play, you can see there's already a character in there. It's the default UE4 mannequin. I don't think he's got a name. I think someone should give him a name. But there you go. That's the one that we're gonna be replacing. We don't actually want that one. So let's set about importing our own character so that we're ready to set him up in the upcoming step. So I'm just gonna move up to the content folder. So right up to the top level for this and we're gonna create a new folder. So let's right click. We're gonna go to new folder. I'm gonna call this one character underscore Rob. Nice and easy. And then we're gonna create another new folder within that. So my character of folder will make a new folder. And this one's gonna be called Rob underscore mesh. Beautiful. And then within that folder, so we're gonna go into the Rob mesh folder. As well as the mesh in here, we're gonna need the textures and materials. So we're gonna create one new folder here. I'm gonna call this materials. We're actually also gonna store a texture in here, but as there's only one, I don't see the need to separate that. It's two different folders. So let's go into the materials folder then. And the first thing we'll do is just import that texture. So let's go to add or import. We'll click the button there and we're gonna import to this folder. So let's click on that there. And now we need to find where we saved that too. So you can see that I have already been put almost in the right folder. I'm looking for this exported folder and there's the head texture. So we'll open that up and that's now imported and it just needs to be saved. So I'll just click on save all and you'll see this asterisk disappear when I save it. There we go, that's now in the project. Now we're gonna go back to the mesh folder and we need to import our character. So let's right click and import. We're gonna find Rob mesh, click on open. And now it's really important that we get these settings right. So we need to tell Unreal Engine that this is a skeletal mesh. So we'll click on that. We'll leave the import content type as it is. The only other thing that I really want us to change is if we go all the way down, I don't want to create a new material. So do not create and I do not want to import textures. We're gonna do that manually so we've got more control over it. And then at this stage, we should just be able to click on import. Okay, we'll get this warning but it's not a problem. So we'll just close that and we can see our Rob mesh. Let's just open it up. There he is. So you can see he's got no materials on him yet but he's come through all his body parts are in the correct place. So that is gonna work. So we can just close that for now. And what we need to do now that he's in there is to get his materials made and applied so that he looks as he should. So let's go into our materials folder. I'm gonna right click, create a new material. And we're gonna call this one M for material underscore and we'll call this white plastic. If I can spell, cool. And we'll set this one up first. So double click on this to open it. It's a really, really easy material to make this. So I'm just going to right click and do a constant three vector, I think. And this basically just gives us a color. So we're gonna plug that into base color and then click on this value here to make that white. And when this catches up, you'll see we've now got a white material. What we also want to do is just create a constant which is this one here. And this can have a value between zero and one which is gonna control how rough our plastic is. You can see that there it is very, very glossy. Let's put it on the cube. You see that's quite reflective. I don't want it to be quite that glossy. So we're gonna give it a roughness value of something like 0.2. Yeah, that ought to do it. And that's that first material made. So we'll save that one. We also want a black rubber. So we're gonna create another new material. M underscore black rubber. And then we're gonna double click on this. Just move that over there. And then we're gonna do a constant three vector. Drop that into base color. And we're actually just gonna come slightly off of black for this only slightly. And then we're going to add another constant to control the roughness. So we'll plug that in. And this one wants to be quite rough. We're gonna go 0.8, which would be 80% rough. And rubber doesn't really reflect. So there you can see that's now working out quite nicely. So we'll save that one too. I can close that. And the final one that we need to create is the one for the head. So we're gonna go for new material. M underscore, we'll call it screen. Open this up. And for this one, we're gonna need a texture. So I'm gonna right click and search for texture sample. There it is. And here we are looking for this head texture image. And we're gonna plug that into RGB. And let's just put this on a plane so that we can see how it looks. There we go. Pretty nice so far. We're gonna need a constant for the roughness. We want this to be a fairly shiny screen. So let's go for 0.2, I think. Yeah, it's got like a matte coating. Let's go 0.15, slightly smoother than that. Okay. And one thing that I want to do, this is completely optional, but I like the look of it. I wanna make the eyes glow a little bit. And for that, we need to use the emissive color. And we're gonna multiply it. So I'm just gonna right click and add a multiply node. And the result of the multiplier is gonna go into emissive color. And then we're gonna take the color of the texture and put that into A. And you can see that already that's having an effect. And then I'm gonna add a constant to B. And any number, so at the moment, it's multiplying this by zero and it's having no impact. If we now multiply this by, let's say, three, you'll see that that kind of brings the eyes to life and makes it look like there's a lit screen there. And you can experiment with whatever number you want there and you can always change it later. But that is the basic material. So we'll save that and we can close it. Okay, so you can see now that we have three materials. If you've been paying attention, you will notice that the metallic material that we also need, we have not created. And the reason for that is because there's already a chrome material in Unreal Engine. So we're just gonna use that instead of making a new one. So now what we need to do is assign the materials to our character. So let's go back to Rob Mesh and we'll open this. And over in the top left corner here, you can see we've got four material slots because of the way that we textured him earlier. And so now we need to just make sure that we put the right materials in the right place. So what I like to do is click on isolate and that will show us what each material is. So this one here is clearly the white plastic. So we'll do this drop down and just start typing white and there's white plastic. And then we're gonna do this one here which appears to be the chrome. So if we type chrome, there it is. And then the next one, if we isolate it, this is the black rubber. So we'll add that. And then finally it's gonna be the screen. Cool. And now when it all comes together we have our character set up and properly textured in Unreal Engine. So far so good. But next we need to make sure that we've got the animations imported as well. And in order to do that we're gonna go to the character Rob folder. So we've got the Rob mesh. We're gonna create a new folder. I'm gonna call this one Rob underscore Anims which is short for animations. So we'll go into here. And this is where these animations now need to be imported. So what we're gonna do is right click and we're gonna go to import to this folder. And because we've already been importing from this folder here it's taken me to the right place. And we'll start with the idle Rob underscore idle and click on open. And again we need to make sure that we get this right. So it is a skeletal mesh but this time we don't need the mesh because we've already got one. So we can turn that off. But what we need to do is tell it which skeleton to attach the animation to. So this little drop down now there's the original UE4 mannequin and there's our Rob mesh. So we're gonna tell it to go onto that one. For the animation length we're gonna change that from exported time to animated time. The reason for doing that, the exported time should work but I noticed it was importing duplicated frames. So we're changing it to animated time and that seems to sort that out. And then all we need to do is click on import. And then you can see that that is imported the animation and if we double click on it we should see that that is up and running. Which it is. So now we've got our character, materials and one of the animes set up. So we'll just save that so that it's in there. And now we need to import the rest. So we'll go to right click import and this time we're gonna do the walk. So we don't want the mesh. We do want to attach it to the Rob and nothing else needs. Oh yeah animated time it's remembered from last time. So let's click on import. We'll double check that that's working as expected. Yep we've got a walk going on that. So we'll save that. Next we're gonna import the run. So import choose the run open. So don't import the mesh. Do put it onto our friend Rob and make sure that it is on animated time and click on import. Give it a quick check. Looks good to me and click on save. And then one final one we're gonna import. Get the fall. So we do not need to import the mesh. We do want to put it on the Rob mesh animated time and import. And then we double check. Yep that is doing the job. So we'll save that as well. Okay that's gonna do it for this step. We have now imported everything that we need. We've got the character, materials and all the animations ready to start putting this guy together moving forward. In the next step according to my notes we are going to be putting together a blend space which is gonna allow us to have the character blend from his idle state to go to walking and then up to running depending on how hard the player pushes the analog stick when they're playing the game. So I'll see you in the next step for that. Now that everything is imported it's time to set up this blend space to blend between the animations that we've got apart from the fall which we don't need. Okay so here's what we need to do. We're gonna right click in our Anims folder. We're gonna go up to animation and we're gonna choose blend space 1D. And we need to choose which skeleton we're gonna attach this to which is gonna be our Rob mesh skeleton. And we're gonna call it Rob underscore BS. BS of course being for blend space. There we go. So let's open this up and this is what it looks like. And down here is where we can blend our animations together. So you can see at the moment we've got these kind of four increments and they represent sort of how hard the player is pressing on the analog stick. So if they're pressing it about halfway 50% this is what animation to show. So at 0% we need it to show the idle. So what we'll do, you can see all the animations are listed here, we'll take the idle and we're gonna drag that over here. You can see that now it's doing our idle. By the time they get to 25% we want him to be walking. So we'll get the walk animation and we'll drag that over here. And now if I just hold shift and move my mouse side to side you can see especially here so here is where there's nothing on this value. And then as we go up to 25 it blends into the walk. Brilliant. And so at 75% we're gonna have the run. So I'm just gonna drag that to here. And then you can see that if we go down to the walk here so I'm just holding shift again. There's the walk and as we move up to the run there you go. You can see that it blends into the run. Perfect. Okay one thing that we're gonna need to change is what the horizontal axis. So this is just a graph. We need to change what the horizontal axis is called so we can access this later. So I'm just gonna name this speed and press enter. And I actually want the walk to start a little sooner. So what I'm gonna do is change the number of grid divisions to five. And that means that this now starts at a speed of 20 instead of 25. It also means that this now happens at 80. So it just adds a few more points. You can add as many as you want. We are probably gonna come back into this a little later because the maximum axis value is set to 100 and I don't think that's gonna be enough. But we're gonna leave it where it is for now and that's the blend space complete. So now if you just hold shift you can start from your idle, move up to a walk and then go all the way up to a run. Lovely. Okay make sure you save that. We can close the blend space for now. And in the next step we're gonna set up an animation blueprint. In this step we're gonna set up the animation blueprint. So what we've done so far is we've told Unreal Engine how to blend between our different animations. But we've not really told it when to blend them and we've not told it which animations to play on while. We're like for instance it doesn't know when to show the falling animation. And the animation blueprint is how we give it all of those instructions. So in our robanims folder we're gonna right click, go to animation and find animation blueprint. The parent class we're gonna choose anim instance and it needs to happen to our robmesh skeleton. So we'll click on okay. I'm gonna call this one rob underscore anim BP. So rob animation blueprint. Lovely. So we need to open this up and everything in this window deals with which animation is shown and when. So this bit here, the result is whatever the final pose that we want to show is gonna be. So we have to plug something into this and we're gonna create something called a state machine. So I'm gonna right click here and start typing state machine and then we can see add new state machine pops up. So we'll create that. I then want to just rename this. So I'm gonna call this locomotion which just deals with how the character moves and the result of this is gonna be what plugs into here. So even though we've done nothing yet, that is gonna be the result. So we'll just plug that in now and then we're gonna double click on this to open it up. Okay, so here's our entry point and what we're gonna do is just drag out of this. We're gonna add a state and we're gonna call this idle walk run. Oops, that's very annoying. So let's just make sure that we don't have random capitalized letters. Idle walk run, there we go. And then we're gonna open this up and what we need to happen in here is the blend space needs to play. So we're gonna get this. We're gonna plug that into the result and we need something to drive this. So we're gonna have to reference this somewhere so that this speed changes depending on what the character does. And the way that we're gonna do this is just right click on speed and we're gonna promote this to variable. There we go. So now whenever this variable changes, it's going to feed into the blend space which is gonna change what animation is played which is gonna go to the animation output pose which is very good. So if we now compile, the character should start to idle. That's because this speed variable is currently set to zero. There you go. You can see that that's set to zero. And because there's nothing else to drive it, that means that the output pose just becomes idle which is good so far so good. If you want to see this in action though you can just go over to speed here, drag to the right and as we move this up, that's very upsetting for it. There you go. It doesn't like to do that in real time apparently but there you go. We can now see that that's the walk. If we up that again, it'll go to the run. So we'll just set that back to zero for now and we'll compile. Okay, so that tells us how to have him idle, walk or run but it doesn't really tell us whether or not he should jump. So in order to do that, we're gonna need to set a couple of things up. So let's just go back to locomotion. There we go. And we're gonna need a condition of whether or not the character is in the air to do this. So now that we've got this set up, what we need to do now is create some logic to drive all of this. So we're gonna go to the event graph up here and you can see that it gives us these two notes to get us started which is exactly what we want actually and these are gonna work together. So the first thing we want to do is see is this valid. So make sure that this is actually the character we're using. So we're gonna, first thing we'll do is that. What we also need to do is get the velocity of the character. So from this point on, because this is our character, we're gonna get velocity which is basically just the speed that our character is moving at. From the return value of this, we're gonna get the vector length. So vector length. And we're gonna use that to set the speed. So let's get our speed variable and we're gonna set it with what that is. And so that now, the actual speed that our character is moving across the level is gonna become our speed variable to drive the blend space. So that right there should do it. So I'm just gonna comment this up so I know what's what. So I'm just gonna select these three notes here and press C and we're gonna do set speed. Nice. And then just with these two here, let's just make a bit of space for them. Comment C if porn owner is valid. Just so that we know what everything's doing. Let's just compile that and make sure it's all working. We're not getting any errors, which I have to say to you is a very, very good sign. Okay, so at the moment, this would now work perfectly to get the character running around. Although we do need to set up the character blueprint, but if that was all done, he would run around. But what he wouldn't do yet is jump. And we're going to need to set that up as well. We need a variable to work out is the character actually in the air? And we're gonna do that in this logic as well now just to get this set up. So out of here, so out of get porn owner, we need to find something else. We're gonna get a movement component. So get movement component. Lovely. And the movement component that we want is falling like that. So this return value then, we're going to promote to a variable like that. And we're gonna call that variable is in a question mark. Okay, so that is gonna be whether or not our character is currently in the air. And we're going to set that using this. So actually what we're gonna do now is before we do the speed, we're just gonna cut in with this. So we're gonna take our execution from here to set that and then to set that. So what we're doing now is every time the animation blueprint is updated, it's going to check whether or not the character is in the air and it's also gonna set the speed. So let's comment this is character falling. Okay, and that is pretty much all the logic that we're gonna need for this now. So what we also need to do is just set up the jump. So let's go back to our locomotion and out of the idle walk run, if we drag out of here, we can add another state. I didn't rename it properly, let's rename it. And I'm gonna call this jump. I'm calling it jump, but it's really falling. I want to keep it easy. And what we'll do is just open this jump and we need to make sure that whenever this is happening that it plays the fall animation. So let's just have that in there. And that's it, that's all we need to do for that. So let's just compile that. There you go, that's all set up. And because I've compiled it, you see, it's giving me a one that this will never happen because I've got nothing set up to make it happen. So we're gonna go back here now and we're gonna make it happen. This little arrow here is what we call a transition condition. So we need to set something on this to tell it whether or not to transition from here to the jump. So here we're gonna say, when is it allowed to go from idle walk run to jump? We'll double click on this and it's gonna be whenever is in air is set to true. So if we compile that, takes away the warning. So that's good. Every time our character is in the air you're allowed to go to the jump animation. And then what we need to do is get this to go back. So we'll go like that. So this is now, you see we've got arrows pointing out. So to go from here to here, we set a condition and then from jump back to idle walk run we need another one. So it's gonna be is in air and we'll get that. And then we're gonna need a not Boolean like that. So whenever is in air is not true, there we go. That is now going to transition back to the idle walk run. So now what we're gonna do is compile that. And that's it then. We have now set up the animation blueprint. We have all the conditions to play the animations so that now when we're in game Unreal is gonna know which animations we want to play and when, which is all very good stuff, I think. So moving forward, what we'll be doing next is setting up the actual character blueprint. This is the thing that we can put into the game. So I'll see you in the next step for that. In this step, what we're gonna do is now set up our character blueprint. So we're just gonna save and close the animation blueprint that I served as purpose. Let's go back up to our main character folder and we're gonna create a new folder here for our main blueprints. So we're just gonna create a new folder. I'm gonna call it rob underscore bp. This is where our blueprints are gonna go. So we'll go into this folder here. In this folder, we're going to right click. We're gonna create a new blueprint class. And the obvious one for this one is gonna be a character because that's what we're creating. So we'll click on that. And I'm gonna call this one rob underscore bp. This is our main character blueprint. And we'll open that up. By default, you get a capsule which kind of represents your character in 3D space. This is how they'll collide and things. You've got an arrow which just kind of points which way is front on. And you've also got mesh, which is not showing anything yet because we haven't chosen one. And there's also a character movement component which has lots of defaults for how the character moves and behaves. Which we'll change some of those later but we'll leave them at default values for now. So if we go to the mesh component here, there's a space for skeletal mesh and here we can choose our rob mesh. And then he goes in and then we obviously need to make a few changes because he's too high up and he's also not facing the right way. So let's just bring him down and we need to get his feet pretty close. So let's, in fact, let's rotate him first. So I'll just put my rotate tool on by pressing A. Gonna rotate him 90 degrees so that he's facing front. And then I'm gonna change my perspective view to a front view. And then you can see here that his feet aren't really lining up with the bottom of the capsule. So what we'll do is just turn the snaps down on the move to one. We'll zoom in real close and we're just gonna line this up with the bottom of the capsule. That should mean that it connects with the floor properly. Okay, now what we're gonna do is just zoom out. The capsule's about the right size and shape. So we'll leave that as it is for now. And we'll go back into a perspective view. Now we need to tell this blueprint which animations to use. So it's already expecting to use an animation blueprint which is good because we created one. We just need to tell it which animation blueprint we want it to use. So if we go to Anim Class and there's the Rob-Anim blueprint we created, we'll click on that and straight away because there's currently no value in the speed it will default to idling, which makes sense, doesn't it? Okay, now what we need to do is set up a way for the player to see the character to have sort of inhabit 3D space. And to do that, we need to put a camera in there. And this is kind of a two-part process. So first of all, we need to create what's known as a spring arm. And this is kind of how the camera will attach to the player. So this will be how far back it is. It will be whether or not Eclipse do walls, et cetera. I'm just gonna put it up in terms of height, if it lets me, to about the neck, something like that. So that puts the spring arm in place. Then what we need to do with the spring arm selected, we're gonna add another component and that's gonna be a camera. There we go. And that puts that in place. If we want to move it, it's better to select the spring arm and move it all up together. So I think I'm gonna go slightly higher, kind of head height, like that. And whilst we've got the spring arm selected, we just need to turn on use pawn control rotation, which means that it gives the character control over the rotation of the camera. So essentially using your right analog stick or your mouse is gonna allow you to control what the camera's looking at. What we also need to do is just open the class defaults, which is just located up here. And we're just gonna turn off use controller rotation, your, and that's just gonna allow us to keep control of that camera as well. And one other final thing we want to do, just to make sure that the camera behaves as we expect is go to the character movement component here. And then we're just gonna scroll down. We're looking for the rotation settings section, character movement rotation settings. And we want to turn on orient rotation to movement, which means that when the character starts moving around, the camera will sort of default going back to straight behind them, which kind of helps to keep the player oriented at all times. Okay, so that sets most of the up. We'll just compile that for now. Make sure we're not getting any errors, which we're not. What we need now is in our event graph, we need the logic that's gonna allow us to control the character. Now I could spend the next 20 minutes getting you to do this one step at a time, but we're gonna do a little cheat here. One of the reasons that we use the third person blueprint is that if we go into this, here's the default character, the mannequin. And we're gonna go into their event graph and just take all the logic from here. It's already got the gamepad input set up, the movement input, mouse input jump. It's all there, which just means that we don't have to set this up from scratch. So we'll select it all and we'll do control C for copy. We'll then go to our blueprint. We're gonna delete these nodes here because we don't need them. And then we'll paste with control and V. There we go. So then that gives us all the logic we need, but if we try and compile this, you'll see that we get some errors. And the reason is, is that we need two variables. There's one called base turn rate and one called base lookup rate. And these are both float variables. So if we go into variables and add, so by default this thinks it's gonna be a Boolean. I disagree. It's gonna be a float. And we need to get the name. So it's gonna be the first one is base turn rate, base turn rate. So just type it out. Don't put any spaces in, but do make sure you capitalize the first letters. Press enter and that would be the first one. Then we'll add one more variable. By default, this one's going to be a float because we just used it. And this is gonna be base lookup rate. So base lookup rate. And then we'll compile. The errors go away because these variables are now there. We do need some default values for these variables. So I'm gonna go for about 90 on each. You can always come back and change these later once you've experimented. These just deal with how quick of the character will change direction. So if you move from running forward to running left, how quickly will the character blueprint rotate to the character? Okay, so let's compile that again. And believe it or not, that's it done. That is our entire character blueprint set up. And in fact, that's the entire character set up. In the next step, what we'll need to set up is the game mode blueprint, which basically just tells Unreal Engine which character we want it to use. So now what we're gonna do is switch out from using the default mannequin and switch to using our default Rob character. So I'll see you in the next step for that. Now it's time to create the final piece of the puzzle really, which is going to be a game mode, which is gonna tell Unreal Engine what character we want to use to replace this mannequin character, basically. So let's get that set up. So I just need to, I've got an asterisk up here. So I need to save this. And I can just close these for now. And we'll close the Unreal 4 third person character. I'm done with that as well. Okay, so I need to go back to my character Rob folder and into the blueprint folder. We're gonna create a new blueprint in here. So right click blueprint class. This one's gonna be a game mode base. And I'm gonna call it rob underscore game mode blueprint so that we know what that is. And then what we're gonna do is open it. I want to be in the class defaults, which I am. And I want to set the default porn class to my Rob BP. And that's all we need to change in there actually. So we'll just compile and save that and we can close it. Then what we want to do is go to the world settings. So the world settings should be over here. But if you've not got them open, you should be able to get it from here. World settings are just there. And in this section, there's a game mode here. And we want to tell this to use our game mode that we've just created. So we're gonna go to game mode override and it's gonna be Rob game mode blueprint. There we go. So that sets that up. That will only do it on this level though. So if I wanted kind of do it for the whole game, if we just go to edit and project settings and go to the maps and mode section, we can just change the default game mode from third person game mode, which is the default one to our Rob game mode blueprint. That's all good. So now we can close that again. And now what we're gonna do, let's just position ourself kind of here. We're gonna put in our character and you'll see is below the floor until we let go and then he pops into place. That's good. And now if we test, this is still not gonna work. So if I test, it's still going to default to Unreal Manicam, which is no good to us right now. So what I'm gonna do is select my character here. And if we just go into his details and scroll all the way down to the bottom, we're looking for the porn section. There it is. And we need to set auto-possess player to player zero. Let's just try testing this again now. So we'll click on play. And now you can see that we have a character. He runs around. He's got his fall animation, jump works, everything is in place. So what we can do is just delete this default Manicam now because he's just getting in the way. Get out of my way, default Manicam. And that's basically everything that we need to have done. I'm just gonna show you one more thing before we move on. So I'm just getting my Xbox controller. Plug it into my PC. Hopefully it's gonna work. And now with that plugged in, I'm just gonna lightly touch the analog stick. So I'm only touching this a little bit and it goes to the run animation really quickly. You can see that the character is actually not moving very far across the screen. And so the run kind of feels unnecessary. And so we're gonna need to make a change to that. So that brings us to the end of this video and then introduction to the next video, which is gonna be fine tuning and polishing what we've got. So I will see you in the next video where we'll make our final changes to this character. We're almost done then. What we need to do now is just a little bit of final tidying up and polishing to make sure this all works. So as we said, the run isn't really starting at the right time and there's a reason for this. So if we go to Rob BP and we go to our character movement section, what we're looking for is the max walk speed. This is how fast you can go. And it's currently set to 600, which means that at max speed, we're moving at 600. Now that's fine. If we now go to our animation blueprint, specifically the blend space is what we're looking for. This axis only goes up to 100, which means that when the speed reaches 100, which is only one sixth of full speed, it's already breaking into a run. So what we need to do is change this maximum axis value to 600, like so. And we'll just save that. And we're just gonna duck right over here. Whenever you change, so if you want the character to move faster, so let's say we wanna change that to 1200, then that's fine. But what you'll need to do is also go in and change this axis value as well. So now if we just make sure that everything is saved, here it is, and we play. Now, if we move, let me just click in this window, move some of these analog sticks, you can see that as he's getting faster, it's taking him longer to break into the full run. And that just matches up a lot better. So if you wanna test this, just make sure that you've got an analog stick. It just means that there's less sliding of the feet along the floor. So that's that, pretty good. I wanna make one more change in the blend space. So, in fact, I'll just show you why I'm making the change first. If we just go back into here. So as he walks very, very slowly, because of the way that we've put the blend space together, it kinda looks like he's got a limp because the idle's got his foot quite far back, even when he starts to break into what he sees. It still looks like he's hurt himself. So we're gonna try and alleviate some of that. I'm not gonna try and get rid of it completely, but I'll get rid of a lot of it. And it's actually, if we go into these blend samples, the walk is currently snapping to the grid. If we turn that off, we can tell it exactly where we want that to happen. So it's currently happening at a speed of 120. And we can bring that down. So let's say that when we get to a speed of 10, and you'll see that that is now much closer together, it should have broken into a full walk by them. So let's save that, and we'll just give that a little test. So there will probably still be a hint of a limp, but it should get out of that pretty quickly. There you go. So now I'm walking about the same speed and the limp's already gone. So it won't go away completely. If you really just feather the analog stick, it can still be found, but it won't stick around for as long. And you can even play with those values even more to change that further if you so desire. Okay, that's one fix done anyway. What we're also going to do is add a double jump just because I can and I like a double jump. So let's go into our blueprint and we change this in class defaults. There are lots of things that you can change. I'm just going to change the max jump count from one to two, pretty straightforward. Let's give that a little test. So jump, want, jump, jump, there is now a double jump, yeah. Now if we weren't doing this as a super fast or as fast as I can make it course, I'd have done a slightly different animation to indicate that the second jump's happening. The other thing that I don't particularly like about the defaults is the jumps are too floaty for me. I like them to feel snappier. And also it's just not high enough. I can't even get up there. Oh, I can. I can only just get up there, but I can't get up here. So let's make some more changes to this jump. So we're going to go to the character movement component and we're going to make some changes. So I want him to come down faster. In order to do that, I'm going to raise the gravity scale from one to six. Now if we just made that change, like his jump would be even worse. So what we also need to do is go to, where's jump? So in the character movement jumping falling section, we're going to change the jump Z velocity to 2000. So to offset the fact that gravity's now stronger, the jump's also going to be stronger and it will just make everything feel snappier as a result. So let's just compile that and we'll give that a cheeky little test. So let's try this now. So jump, yep, so it goes up and down much quicker. Jump, jump. So I prefer this. You can obviously tweak this to whatever your preference is, but I like that it feels like something's happening immediately and you can get down quicker. I find it easier to line up. One other thing that I will change though about the jump is because this is meant to be a platforming character. You also want to be able to control them in the air and that's this air control thing here. So if I just change that to 0.9, compile that again and test one more time. Now, once I'm in the air, I can kind of change my mind a little bit. Like that, which can be much better because it means that now if I'm about to miss a platform, I've got a way of correcting it in midair. So that's the jump pretty much done with. There's one more thing that I want to look at. So if we just run into the wall, he buries his face quite far into it. And that's because the capsule's a little bit too thin for the character. So I'll make one final change. If we go to the capsule, it should be this here. I'll just go into the viewport. So select the capsule and this has a radius. So the radius is set by default to 34. I find that if I set it to 50 for this character, it'll stop him from going as far into the wall. So let's now compile and play. And now if we just run him head first into the wall, that feels much better. Now, it can just about get his face in the wall, but it's not as offensively bad. So there we go. That just feels better. You can see his feet look like they're just about contacting the floor. I think I need to just raise that capsule a little bit. So, or rather drop the character a little bit. Just do a couple, compile, play. Let's see if we can get him up on a platform to see if that's working. Yeah, that's now contacting the floor pretty well. So, I, I'm gonna stop there. I'm gonna call that an overwhelming success. So what you've done with me over the duration of this course is literally everything that is required to set up a character for use in Unreal Engine 4. You have modeled it, you've UV mapped kind of, you've textured, you've rigged it, you've animated it, you've exported, imported, you've done the logic, you've set up the blend space, you've done the blueprints, and you've also tweaked it to your liking. That I think can only be considered a success. So, well done for finishing the course. And that's it, you've made it to the end. Hopefully you found this tutorial helpful and learned a lot along the way. If you did, then I'd really appreciate your help in making sure that the YouTube algorithm doesn't bury all of my hard work by hitting the like button on this video, as well as any other videos in this series you've watched and more importantly, leaving me a comment. Tell me what you liked or what you thought could have been better or just say thanks or even hi. I'm still quite a small YouTuber and I try to read and respond to as many comments as possible. If you think others would find this tutorial useful, then please share it with them. Every view helps me get a little closer to being able to make courses like this full time. If you've made it to the end, hopefully you'll also think that I've done enough to earn your subscription to the channel. If you really want to support the channel and my work here, I do have a Patreon page which you'll find linked below and there's also some merch available too. If you've used what you've learned here to make your own character for a game, then please share it with me. I love seeing my student success. If you're wondering what to learn next, I have some other game art and game development tutorials which I have linked in the video description. So check them out to continue building your skills and knowledge on your journey to becoming a game developer or artist. Anyway, I think I've kept you for long enough. Thank you so much for watching. Now go and make some games. I'm able to continue making these videos thanks to the ongoing support of my amazing Patreon community. If you'd also like to support Game Dev Academy via Patreon, then check out the link in the description below. Thank you.